REPORT BOTSWANA

Support Programme for ACP Cultural Industries

9. ACP. RPR .62

Mis en oeuvre par le Secrétariat ACP Financé par la Commission Européenne

ACP Cultural Observatory

Research activity N°1:

Analytical tools for the cultural sector in the ACP countries

REPORT

BOTSWANA

Prepared by the National Research Coordinator: Dr Maud DIKOBE

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TABLE OF CONTENTS

I. Introduction 3

II. Case studies 3

Study case n°1: Wacona Cultural Village 3

Study case n°2: Botswana Quality Baskets 10

Study Case n°3: Leoa Traditional Cultural Promotions 16

Study case n°4: Abi Films 24

Study case n°5: TSOGA AFRICA THEATRE WORKS 31

Study case n°6: ISSUES FASHION STUDIO 38

Study case n°7: THAPONG VISUAL ART CENTRE 44

Study case n°8: Mud Hut Productions 49

Study case n°9: David Salter Music 53

Study case n°10: Star Reality Television Show 58

General recommendations 62

III. Final Sectoral Analysis 65

Theatrical Arts 65

Visual Arts 68

Music 71

SWOT Analysis of the Creative sector Botswana 82

Needs Analysis for the Botswana Creative Sector 84

National conclusions and Recommendations 88

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I. INTRODUCTION

The report has been informed by a wide range of materials solicited from various departments

(DAC), Ministry of Trade and Industry, interviews and questionnaires, newspapers, desktop

research, conversations with various stakeholders in cultural and creative industries, invitations

to meetings and workshops conducted by (DAC) and Ministry of Youth Sports and Culture, and

through a consultative process involving two Thematic Discussion Workshops.

The research involves 10 case studies, which were selected out of 30 studies. The survey for the

selected 10 case studies was carried out following the methodology suggested by ACP Cultural

Expert, which were adapted to suit the local situation.

The first findings, based on 5 case studies were presented in the interim report, and one case

study ISSUES, (Fashion and Design) was used during the Methodology Workshop held in May 7 in

Brussels to highlight some of the problem, this type of creative industry faces in Botswana.

The following is the data and conclusions arrived at based on the remaining five cases of the

survey. One will find that some of the problems identifies in the first 5 case studies are also

found in the reaming case studies, especially cross cutting issues such as lack of funding.

II. CASE STUDIES

Study case n°1: Wacona Cultural Village

Dates of visits and interviews: May 28 and July 9 2010

Background: Wacona Cultural village is involved in promoting Botswana tangible and intangible

culture, through cultural tourism.

Concentric Model for Cultural Operators: Creative and Connective Cultural Industry

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1. BASIC INFORMATION

FACTUAL

INFORMATION

Name of Institution Wacona Cultural Village

Contact Details P.O. Box 809, Gantsi

(+267) 7223395/75521667

[email protected]

Area of Operations Cultural Tourism

Years of Operation 4

Legal Form Commercial

Responsible Party Gaolatlhe Thupe

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GENERAL

DESCRIPTION

Ms. Gaolatlhe Thupe is the manager of this multi-purpose culturally based

creative industry, situated in the South East of Botswana, in the Kgalagadi

district, (kms) from Gaborone. Wacona: which means “Ours” refers to motse

wa cuna, translated as “our village” is premised on a sense of ownership.

Gaolatlhe feels that as Batswana we belong to this country and must embrace

its diverse cultures, by celebrating its cultural heritage and the rich array of

languages. Only in that way can Batswana come to understand each other’s

culture, insists MS. Thupe who is very passionate about her work to raise

awareness about cultural diversity. The cultural village showcases Setswana

culture and that of other ethnic groups in the Kgalagadi are: Basarwa (Khoi-

San), Herero, and Bakgalagadi. The Cultural village specializes in traditional

cuisine based on game meat, and offers accommodation in traditional huts

representing the different ethnic groups alluded to above. Accommodation

comprises of ethically defined thatch huts (Tswana, San, Herero, Kgalagadi, and

Tswana. Guests are spoilt in these individually decorated rooms. For the early

risers mornings are punctuated with nature walks around her acres (confirm

how many acres). In addition Ms. Thupe hires out indigenous decorative

artifacts to the Gantsi community, ranging from schools to government offices.

Some of the highlights of the August event, which has become part of the social

calendar, are the annual cultural day, celebrated in August, which is partially

funded by the Department of Arts and Culture. Another is the performance of

different Tswana rituals such as initiation ceremony, which marks the rite of

passage from adolescence to manhood and manhood. A visit to this cultural

village gives one a sense that that they are being initiated into the essence of

the diverse Botswana culture.

Governance

and

Leadership

The company is the brainchild of Ms. Thule, who bought land from an old white

farmer three years ago. Former primary school teacher intent on promoting and

preserving Setswana culture. Basically she runs the company single-handedly,

while utilizing the business acumen of her two children who visit occasionally

from Gaborone. She transfers or delegates some of the daily duties to her two

assistants, especially when it comes to preparing the local cuisine., other

employees have worked in the fashion and

Perception of

the Structure

Ms. Thupe’s entity has benefited from a couple of ministries, which are

interested in bringing culture into development issues, as way to diversify the

economy and alleviate poverty. Recently, the Ministry of Wildlife and Tourism,

and (MYSC) have shown a keen interest in her business, given the recent

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emphasis on buying or promoting local businesses. In 2009, the Ministry of

Wildlife and Tourism, gave her a grant to buy food for the artists, during the

annual August festival. However, the discussions at the Thematic Discussion

Workshop indicated that most participants were not aware of the entity’s

existence.

Cultural

Environment

Internal

Employment

As already stated, Wacona is a relatively new and small

establishment, without any modern amenities, such as

flushing toilets, and electricity, and has only two employees.

The cooking is also done outdoors, in traditional pots and it

takes hours to cook the game meat which is the pounded to

have tshotlho.

External

Stakeholders

There is a lot of interaction with the stakeholders. Those who

hire out artifacts, those who commission the different groups

to perform at different events, and those who place orders

for traditional cuisine at special occasions. As an eloquent

speaker and a cultural activist, Ms. Thupe is always invited to

high profile meetings dealing with culture, such as the

workshop on the “Convention for the Safeguarding of the

Intangible cultural Heritage” held in Botswana in January,

2010. Some tourists enjoy nature walks while lodging at

Wacona. Game owners supply her with game meat. In

December 2008, Ministry of Wildlife and Tourism paid for two

of her employees to take part in basic skills in-service training

related to their fields which was held in Gaborone.

Other

Comments

For purposes of the survey, Wacona is analyzed mainly in terms of its services

as a creative industry. No doubt the company is a storehouse of knowledge on

Botswana cultural diversity, as it offers historical and cultural lectures to

individuals and groups. Its strong point is that it is able to showcase both

tangible and intangible culture. It’s proximity to the Dakar, Cultural Centre, is

an advantage as some of the tourists who come to the Kuru annual Dance, stay

at this cultural village. Some of the artists, in the past have hired the place for

video shoots against the background of traditional hut.

2. THE VALUE CHAIN OF THE ORGANIZATION

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Creation The value chain of Wacona is informed by its eclectic outlook in addressing

cultural diversity not only through music, but through traditional games,

rituals, and music from different ethnic groups. Story-telling is one of the

cornerstones of orality, which allows the stories to be passed on from one

generation to the next through word of mouth. Coupled with the knowledge of

the region, Ms. Thupe is able to work with a wide range of groups.

Production There are different phases of production associated with the final product

depending on what the focus is. Ms. Thupe works with the different groups,

say to produce songs for a specific occasion. Most of the groups come from the

area, and she organizes transport for rehearsals and to the final station for

performances.

Distribution Ms. Thupe takes her products to the desired places. Most government offices

hire out her decorative stuff and performing groups. Or in case of the cuisine

some of the clients prefer to come to the village for lunch, while corporate

companies would prefer the food to be delivered at their offices. As for music,

the groups, can perform on site or are transported to the location identified by

the client. The Ministry of Tourism has also played a part in making her

village visible through the media.

Access The cultural village is undersubscribed since it is not widely advertised, due to

lack of aggressive marketing. Partly, because cultural tourism is a relatively,

new phenomenon, most people are still hooked on five star hotels. With

statements like “I used a pit latrine all my life, and my idea of a vacation is

not to go out and do it in the bush or outside. Give me decent accommodation

any time”.

3. ECONOMIC PROFILE OF THE STRUCTURE

Turnover P50,000.00

Expenses

General maintenance, motor vehicles, salaries, feeding performing

groups, paying off the loan for the farm.

Sources of funding Funding comes from her personal savings and occasional grants from

the government.

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4. IMPACTS

Direct

Effects

The company operates on a tight budget since it receives minimal or sporadic

funding from the government.

Indirect

Effects

Pays for transport costs, and suppliers who provide her with game meat and

other condiments. These could include; ranchers, supermarkets and some

people she buys traditional craft from. Some community members also may

come to the village to have it in the background of their wedding pictures.

Some restaurants also order traditional foods from Wacona.

Inferred

Impact

The passing on of knowledge through story-telling, dance and music, serves as a

learning curb and helps to promote and preserve Setswana culture, serving a

purpose of documentation, because traditionally in Africa knowledge was

communicated orally. In that sense, Wacona provides invaluable service to

UNESCO’s commitment to preservation of intangible culture. Participating in

meetings organized by the different ministries helps with networking.

Workshops too have been helpful in terms of how she can maximize the profits

at her space. A lot of suggestions were given at the Thematic Discussion

Workshop. In 2009, Kutlwano one of the country’s newsletters covering

Botswana culture had a feature article on Wacona.

5. CONCLUSIONS

To date, Wacona has not lived to its potential, although it has managed to attract a lot of

clients especially from Gantsi, who drive to the village to enjoy local cuisine on weekends. The

clientele tends to comprise of officers and locals from Ghanzi, or Batswana en-route to Maun

seeking a get-away coupled with an in-depth knowledge of their roots, as encapsulated in this

example of cultural tourism. At the workshop, she lamented lack of funding and the

government’s tendency to ignore small business. Ms. Thupe looks to expanding her place so

that it can attract more tourists, who will have firsthand lessons on Botswana culture. One of

the advantages is that when it comes to intangible culture, especially story-telling, it is not

bulky, yet powerful, as one does not to package it and load it into the truck.

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Some of the infrastructure, such as the kgotla (the place of counsel) is amenable to different

uses, and makes what is called change of scenes in theatre easy, as the structure can be used

for different purposes.

One glaring disadvantage is that the company does not have records, to track progress, as is

expected of a fully-fledged business. To one it looks like work-in-progress, given its potential

Wacona should look into courses on business management, some of which are offered through

government initiatives. Training in management, and exposure through the media’s existing

networks can help in making this business visible.

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Study case n°2: Botswana Quality Baskets

Dates of Field Visit and Interview May 28 and July 10

Background: Botswana Quality Baskets specializes in making of baskets and selling of other

traditional crafts such as sculptures and carvings.

Concentric Model for Cultural Operators: Creative and Cultural Industries


Factual Information Name of Institution Botswana Quality Baskets

Contact Details P.O. Box 1382, Maun

(+267) 6801255 (+267) 72271422

e-mail :[email protected]

website: Under construction

Area of Operation: Basket Production

Legal Form: Commercial


Responsible Person: Thitaku Kushonya

General Description

Botswana Quality Baskets specializes in hand-woven baskets and is

an established business which the government and non-

government companies source baskets from, both for decorating

their offices or establishments such as hotels.

It has been utilized by commercial enterprises such as (LEA) Local

Enterprise Agency, which funds small business as a model at their

sensitization workshops n how start and maintain an SMME.

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Governance, Leadership Mrs. Kushonya is the Managing Director, who is also herself a

basket weaver. She has one office assistant The company hires

about 20 people who are commissioned to mass produce baskets

for her store to sell to locals and tourists. Most of the weavers are

mainly Hambukushu and Bayei, although some Basarwa at

Nxaxana also weave baskets for her store. Most weavers, who are

mainly women, are found along the Okavango Delta in the North

West District around the Etsha area, Nxaxana, Sahakawe and

Okeuthi, and only two of the weavers are from Matlapaneng.

Before opening her own store, Mrs. Kushonga used to work for a

cooperative, where she was part of a cooperative that weaved

baskets fro some of the craft stores in Gaborone, such as

Botswana Craft, but realized that since her baskets were always

picked by the buyers, she should leave the cooperative and start

her own business. She smiles as she shares with me her story as a

business woman. “I started basket weaving at 5 years and sold my

first basket at Malcolm Thomas one of the merchants who owned

a retail store in the village for P150.00 in 1978. And today the

same basket will sell for P2, 500.00. Basket weaving is passed on

by women to the girls though observation and apprenticeship,

where a young girl might be allowed to finish a basket and then

given feed-back whether she was doing the right thing or not.

Perception of the Structure

Botswana Quality Baskets is well branded, citizen owned

company. It has created a niche for itself in the basketry market

because of the workmanship and the symbolic designs found on its

baskets. The designs are mainly associated with nature and

animals. While interviewing her, Ms. Kasunga took time to

explain to me, as we walked around the store, such as tears of

the giraffe, knees of the tortoise, which to an ordinary person are

just patterns. A quality basket has established its name in the

basket industry and participates in the annual basket exhibition

competitions held at the national museum every June in

Gaborone. In 2006, Quality Baskets fetched the coveted national

prize for the best basket. In addition, Ms. Kushunga has been

certified by (BOTA) Botswana Training authority as basket weaver

instructor. Her baskets and her store are frequently featured in

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local newspapers and in-flight magazines. Has had the

opportunity to display her baskets overseas as well. The owner

has been a recipient of numerous government grants, which

allowed her to network from other basket weaver from around

the world. In 2004, she was sponsored to attend an exhibition in

Washington D.C. and showcase her baskets. In 2005, she was part

of the BEDIA business delegation to Disneyland Florida. And

because of her expertise she has served as a judge at some of the

constituency basket competition, during the years that she is not

competing.

Cultural

Environment

Internal

Employment

As stated earlier, Quality Baskets has a pool of women

working at different locations from the Ngamiland area,

who supply Ms. Kushonga with baskets, although they are

not operating from her location. In Matlapaneng, there is

an office assistant and the husband who helps with driving

or taking some of the orders for the passengers to the Maun

airport.

External

Stakeholders

External stakeholders include local buyers and tourists.

Visual artists have also used her designs as inspiration for

their artistic creations. Ministry of Trade and Industry once

asked her toserve as a resource person at one of their

workshops. Other individuals have done research on her

work on anthologies on basketry in the world.


Creation Women collect natural materials required to make the baskets. Thye

collect palm tree leaves mokolwane, which is the key product for basket

weaving. They also collect the bark and roots of plants such as

mothakola, motsentsela, to extract the brown and black dyes. And

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lethajwa and kgope which are used to extract yellow dyes. The roots are

poundd and boiled together with palm leaves to achieve the desired

colour. Then are left to dry in the sun for a couple of hours. The lemao,

needle or muyini in Hambukushu is used to weave the palm-leaves into

intricate and symbolic designs.

Production Depending on the size and deign of the basket it take a week up to six

months for a weaver to complete a basket. Because weaving is usually

done at home the woman can take breaks to do other chores such as

cooking etc.

Distribution There is wide trange of ditribution channels, selling to companies or

individuals who own art galleries both in Botswana and abroad. Most of

the customers are tourists, but commercial companies also place large

orders with her. BEDIA and LEA have helped to distribute baskets

internationally. Her work is also been sold at exhibitions.

Access As stated above acces to the baskets varies.


Turnover Estimated at P120, 000.00 per annum which is an equivalent of Euros.

Expenses Include salaries, overheads, weaving materials, transport, utilities for the

Matlapana office and other related costs associated with the running of a

weaving industry. Internet is already available and she is in the process of

setting up a website, to maximize the visibility of her company.

Sources of

Financing

Since it is a commercial entity, Quality Baskets generates its revenue. But

also appreciate training andknowledge imparted to her through

governement funding to attend training workshops and travel abroad.

4. IMPACTS

Direct Effects Most of the stakeholder’s income is generated through production of

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baskets. The bulk of the budget goes to paying the weavers.

Indirect Effects The hiring of males to cut the roots for dying and the palm leaves are

minor but inderect benefits to maen, although they don’t have to cut

palm leaves or dig for roots every day. Some of the indirect effects

include women, whom she trains to become teachers and collectors of

baskets on her behalf from other women weavers who are not in her

payroll.

Inferred Impact One prestigious example was the company’s winning of the National

Basket price. That made a lot of people aware of her business although is

located outside of the capital city, where Botswana Craft, a multi-million

craft shop in Gaborone, buys baskets from women in the Ngamiland area

and sells them for 100% profit. Soe people now prefer to order directly

from quality baskets.

5. CONCLUSION

Botswana Quality Baskets is a pride of the nation, as a citizen owned company which testifies to

the ability of creative industries to generate income not only for one person but the ability to

hire others as well. Because, baskets are an integral part of the Tswana culture although their

uses have changed, their practical purposes such as storing food, catching fish, or decorating

homes are still prevalent in the Botswana society. With the introduction of mass-produced

baskets, employment is created for rural women, while allowing them to work at leisure in their

homes, and only bring the finished product to the depot.

Quality Baskets, like any other business that depends on natural resources faces challenges of

de-forestation, which is compounded by climate change. But due to knowledge of the landscape

and bio-diversity, even though MS. Kushonya did not call it that, the community is very aware of

the repercussions of cutting palm leaves and the roots used for dying the leaves, so they cut in

such a manner that the plants have a chance to grow back. With the renewed talk to diversify

the economy, with funding and training in making goods that are ready for export, this market

can answer some of the poverty alleviation issues that the government is currently grappling

with.

Botswana Quality Baskets feels that the government should introduce basket weaving as a

subject in the Ngamiland culture, so that this trade does not die. Not only that, but that those

owning small businesses should be offered periodic training on how to upgrade their businesses.

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She considers they training she got from different organizations as invaluable as it has

empowered her.

She feels that women should be funded to start their own businesses instead of working for

cooperatives as has been the case in the past. As someone, who has worked for a cooperative,

she says she will not advise anyone to take that route. She explains that she started her own

company because in her group, her baskets always fetched a lot of money, while she was

expected to share the proceeds with other women. Also she adds, in a group you find that there

are people who are very lazy, and as a result do not put a lot of effort into their work knowing

that they will still get a pay from the cooperative.

One major concern, that she noted over and over, was the lack of communication between

creative artists and government officers from the Department of Arts and culture, who are

stationed at different constituencies with the aim to help artists in their respective stations.

She told me that ever since, she started operating in 2000, was only contacted on the 27 May

that someone was going to visit her business. I was at her place on the 29 May, 2010. I don’t

whether (DAC) was using the list of cultural operators I had identified for the survey, because I

had a similar story in Ghanzi.

It has to be noted that basket weaving is still a female preserve, most men prefer to

concentration sculptures and carvings.

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Study Case n°3: Leoa Traditional Cultural Promotions

Dates of visits and interviews: June 23 July 9 2010

Background: Leoa Cultural Promotions’core business is to promote Botswana’s culture through

traditional dances and song.

Concentric Model for Cultural Operators: Creative and Cultural Industry


Factual

Information

Name of Institution Leoa Cultural Promotions

Contact Details P.O. Box 2589, Gaborone

(+267) 7222077 (+267) 3956774

[email protected]

Area of Operations Music and Dance

Years of Operation 3 (formerly operated as Mogwana for 19 years)


Responsible Party Gaolape Bashupi

General Description Ms. Gaolape, Bashupi is the manager of this dance troupe

which draws singers and dancers from all over the

country.Leao (lewa) which refers to how the bones fall during

divination, encapsulates Ms. Bashupi’s long-term involvement

as a dancer and promoter of traditional music in Botswana for

over twenty years, therefore the name suggests that only time

shall tell, how far this company will go. She changed the

status of the company from a non-profit entity to one where

artists, and her can generate some income through

perfromances, workshops, sell cultural activities and other

artists’ music and crafts. She intends to add performing arts

festivals to her line up of activities. Leao, which is a

subsidiary of Mogwana, has video recordings of its music and

dances, Pina ya Setswana 1 & 2. (Setswana Song 1&2).

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Governance and Leadership The company is the brainchild of Ms. Gaolape Bashupi and a

couple of her friends who saw the need to promote Setswana

music in order to avert the attention given to Western muisc

in the radio and television shows. Ms. Bashupi is a shareholder

in the company and also fills in as a manager. However, she

does not get a salary but instead gets some form of allowance,

due to lack of funding. This remains a challenge because the

market is staturated with a lot of traditional music groups

such as Cultural Spears, Dikakapa, Ngwao Loshalaba to

mention but a few. Therefore, she constantly has to come up

with cutting-edge perfromances so that he group could be

seen as a cut above the rest.

Perception of the Structure Leao, because of its association with Mogwana, is a well

known troupe in Botswana. Despite its size compared to

Mogwana which boasted of 40 dancers, Leao with its 15

members it is still seen as a creative agent which disseminates

traditional song and dance both locally, regionally and

internationally. The owner calls this group “Champions of the

Performing Arts” and deserves this title having won the

Presidential Constituency awards for best traditional music

group in two consequent years, namely 2009 and 2010. In

addition, Ms. Bashupi has presented on the topic of traditional

music and dance in countries such as Senegal, and Greece.

The paper presented in Dakar Senegal in 2004, was on how to

use creative arts to alleviate poverty, something which

resonates with some of the objectives embedded in this

survey. The company is registered with the Department of

Arts and Culture, which gives it an opportunitity to perfrom a

some of the state functions for a fee. However, Ms. Bashupi,

laments the fact that as a company, they are at risk of not

getting funding from (DAC), because they tend to favour non-

governmental organizations over individual businesses, as such

they have not benefitted from the P50, 000.00 annual grant

which the government gives to cultural stakeholders for the

basic running costs of their businesses. However, if the

project is perceived as fulfilling some social relevance, the

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(DAC) usually makes an exception and funds such a project.

Cultural

Environment

Internal

Employment

As already stated, Leao is a relatively small establishment,

with the manager who is in charge of all the projects and

grant writing. The director is in the process of hiring: an

adminstrative secretary, a messenger and a cleaner to help

with some of the errands.

External

Stakeholders

There is a lot of interaction with the stakeholders, those who

engage to group to perform at different events, the main

client being the government, as traditional dance

predominates at official meetings. One of the shareholders,

Ms. Eunice Radikonyana is a filmmaker, and the company’s

production representative in recording deals, and gets 50%

share for the production of the group’s videos. The % is based

on the understanding that she brings in film expertise, while

Leoa brings in the creative element/expertise. Some

stakeholders involve embassies. For example, in 2005, the

French Embassy in Botswana sponsored Mogwana to perform

at the Annual Mozambiquean Dance Festival.

Other

comments

Ms. Bashupi felt that (DAC) cannot effectively run cultural

activities and should out-source services to administer the

running of cultural activities, especially areas as vast as

traditional dance and song. With the establishment of the

Performing Art School in Otse, Ms. Bashupi is disappointed

that the curriculum does not have anything on the performing

arts, which she says could help, train choreographers who will

eventually be licensed to perform as professionals and make

money out of that. In essence she advocates for the

government and other arts training institutions invest in

academic programs that focus on the arts.


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Creation Leoa’s value chain is informed by the creation of songs and dances by the artists.

Most of the songs are not original but are tapped from the communal repertoire

from the different ethnic groups in Botswana. Creating a song comes with a tune,

and ability to recognize notes, but not in the classical sense of musical notes,

mainly based on intonation. But one does not have to be a good singer in order to

be a composer. The songs do not pose much of a problem, but some of the

traditional dance steps can take up to 3 moths to master and at least another 6

months to perfect them.

Production There production follows creation where the artists have to perform for audiences.

This can be a challenge as some of the dancers or singers can get poached by other

dance troupes who promise them higher salaries. Since some of the dancers would

have taken traditional dance in high school, will sometimes audition to perform

with Leao, having since its stage work either on television or watched one of their

videos. The company conducts weekly rehearsals, and if they are preparing for an

international competition, the group undergoes 3 months intensive training on basic

moves and a couple of variations. The gropu also have associate members, where

students studying traditional music and dance are assigned to the group for the

practical component of their exam.

Distribution The music and dance are distributed through local and international performances.

And since they have some of the music on videos this also serves as one of the

distribution outlets. The music and dances enjoy a lot of coverage on some of the

South African television channels. Some times Ms. Bashupi sells the music when they

are on tours, and now has some of the videos at her office which also serves as a

shop for traditional crafts. Most of the sales also take place at Consumer Fairs and

Exhibitions where the company rents a stall to sell their products. The group also

performed at one of the World Cup Fan Parks in South Africa at Phokeng in the

North West. Has performed internationally, USA Championships of Performing Arts

(2007) China (1996 & 2010), UK (2008), and regularly in Lestho, South Africa,

Swaziland, Mozambique and as far as Ivory Coast.

Access The group’s music is readily available in Botswana both live and on videos, and the

use of internet has helped with the visibility of the company. But as mentioned

earlier there is a lot of competition since there are many groups doing the same

thing. In 2009, the group won the 1st prize for President Constituency Competition,

and received a prize of P25, 000.00.

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Turnover P168,000.00

Expenses Office rental which also serves as the shop. Telephone, water bills, payments to

artists, and allowance for 2 employees. Feeding performing groups, and buying

costumes which is a once of purchase and then only lost uniforms are replaced. Other

costs include DVD production costs.

Sources of

Funding

Ms. Bashupi sources of funding come from her personal savings and occasional grants

from perfromances.

4. IMPACTS

Direct

Effects

Indirect

Effects

Inferred

Impact

The company operates on a minimal budget since it does not receive minimal or

sporadic funding from the government.

Pays for suppliers of leather materials used for costumes, ostrich egg shells used for

decorations and necklaces, and material used for rattles (mathwa). Food suppliers who

cater for performances and those who provide transport for dancers also benefit

indirectly.

Dance is seen as the crux of one’s identity. So in promoting Botswna dance, this brands

Botswan’s traditional dances. But in this case dance is used for edutainment, to

promote Botswana culture and teach people about the different types of dances in

Botswana. For example, one can appreciate the fact that Botswana dances are

different from other African dances because most of them are not based on the drum;

instead there is a lot of clapping of hands and pounding of the feet on the ground.

Some the dances are highly acrobatic such as those demonstrated by the army based

group (Dikakapa), which was short listed at the kora awrds this year. The telling of the

story through song and dance is one of those characteristics which are common in

African music, and Botswana is no exception. So one is expected to reead the

21

movements, some imitating different animals especially among the San (Basarwa). As

already stated, there are varies dances in Botswana, each associated with a certain

part of the country, and Leoa strives to showcase all these dances and the

accompanying intangible culture.

22

5. CONCLUSIONS

Leoa, like other groups focusing on traditional music and dances are a staple feature in

Botswana’s musical repertoire. There are folksongs for examples that most Batswana know and

sing at communal meetings, without being able to say who the original creator was. (DAC)

alongside government efforts to brand Botswana is looking at ways to brand Botswana music

least it is stolen by our South African neighbours. While these fears might seem unfounded,

since we are all one people, (for example Setswana is spoken by 5 million in South Africa), I

think each nation state feels the urge to carve its own identity through perfromance among

other things. The fact that some of Mogwana’s videos were pirated in South Africa heightens

some of these fears. From time to time, South African groups hire Batswana students studying

in South Africa to teach them some of the dances, which are now becoming popular on both

sides of the border. According to Ms. Bashupi, the piracy affects the profits they expect to get

from the sales of their videos. With the recently introduced Botswana Copyright Society

(COSBOTS), there is hope that some of these illegal practices which impoverishes the creative

artists would be nipped at the bud.

One point, that Ms. Bashui reiterated was that there is urgent need to train dancers, so that

they can be hired as choreographers and take Botswana dance and song to another level. She is

looking forward to a time when her company can have full-time professional dancers, who are

paid for the services, because at present the artists only get paid when there is a performance.

Further feels that if dance is promoted just like other academic subjects, students who do not

perform well academically but are good dancers can make a living out of this profession—

dancing.

Ms. Bashupi chuckles as she answers the question on the visibility of her structure, she says, “I

can confidently say that Leoa is famous for using traditional song and dance to keep young

people from mischievous activities, by encouraging them to focus on dance and music as

possible career opportunities, and that that music and dance can be used for therapeutic

purposes and not just for entertainment.

Another thing which she wishes to see during her lifetime is a situation where artists are

equipped with a broad array of skills and expertise such as management and financial expertise

to be able to negotiate and broker deals without being taken advantage of. Overall, she

advocates for recognition of the arts at all levels of decision making forums, in a more

structured manner not just on ad-hoc basis. She feels skills awareness is crucial, if the youth

have to understand that one can make a living out of dance or in the same way that one makes

a living from being a teacher or doctor, instead of artists being perceived as no good losers.

23

Ms. Bashupi, notes that international trips tend to be expensive, and at times they have had to

cut the number of artists and back on Batswana students in the host country. So, as a survival

tactic Leoa has mastered the skill of keeping the performers’ numbers down in order to fit the

sponsor’s bill. For example, in one of Leoa’s visit to Canada, where the sponsor could only

sponsor 6 performers, they had to recruit Batswana students to offer the backdrop for clapping

and had to pay 6 Batswana students to complement the traditional dances. Since, traditional

dances can accommodate up to 25 dancers, transporting artists both regionally and

internationally remains a challenge. But Leoa has perfected the compromises skills so that at

least some of the members of the group have had the opportunity to perform at government

economic exchange initiatives, which are coordinated by BEDIA (Botswana Export Development

Investment Agency), s under the Ministry of Trade and Industry.

As a member of (SATI) Southern Africa Theatre Industries, Leoa has also featured in musical

theatre competitions held across the SADC region. An opportunity they took advantage of in

2009, to showcase Leoa’s talent at the SADC competitions.

24

Study case n°4: Abi Films

Dates of Interviews June 1 and August 12, 2010

Abi Films Background: Filmmaking and Storytelling

Concentric Model for Cultural Operators: Creative Core, Cultural and Creative Industries


Factual

Information

Name of Institution Abi Films

Contact Details P.O. Box 301827, Gaborone

(+267) 3908606 (+267) 71857790


Area of Operation: Filmmaking



Contact Person: Moabi Mogorosi

General

Description

Abil Films has been in operation for the past 7 years. One of the company’s main

objectives is to do work that would put Botswana in the international creative industry

map, by telling the Botswana story from a Botswana perspective, while employing the

film medium and folk music to tell the people’s story, in their own words. Run by

someone with one foot in film and another in theatre this is inevitable, since Moabi feels

that he cannot divorce film from performance. Moabi who is a filmmaker, also holds and

M.A. in Applied Arts, from the University of Wittswatersrand in Johannesburg (Theatre

for Life) project.

However, Mogorosi feels that the performance standard in Botswana soap operas is not

at par with the expectations of acting world-wide, and would like to offer workshops to

correct this deficiency. The TV drama, he feels are more of sketches than movies. He

feels maybe the reason could be that the films are low-budget films and when the

performance is poor this compounds the problem.

With storytelling as his first love before he diverted to film making, he feels that “when

25

Governance,

Leadership

Perception of

the Structure

one talks about film, one finds s that most people are not cued on, some confuse

videotaping with filmmaking which is sad, we really have to make a distinction between

these two mediums”.

One of the predominant motifs in his films, which are mainly documentary is the story

telling. And this was prompted by some of the observations he made as a filmmaker that

“It is much easier to watch an African movie in the U.S. or say Europe than it is in

Africa” and this drove him to produce typical Botswana stories. He feels that the few

films that are produced by Batswana don’t receive a lot of publicity since they are often

relegated to opening nights of the newly released movies, at some luxurious hotels and

are never screened at local cinemas thereafter.

Mr. Mogorosi is the Managing Director, who is himself a filmmaker with a minor in

theatre, and has always been interested in marrying the two mediums, since he feels is

not easy to divorce film from performance.

Abi Films, hit the scene running with the producer’s first film Hot Chili (1998) an

adaptation of a story the director used to tell to conscientize audiences about HIV/AIDS.

Another launching pad was the Boswa Documentary Series aired on Botswana National

Television in (2005) which comprised of 6 episodes (each focusing on a particular aspect

of Setswana culture. Additionally, Abi Films did behind the scene filming for The No 1.

Ladies Detective Agency which was shot on location and subsequently aired on BBC and

HBO. As one of the few citizen film companies it has been commissioned by both locals

and international clients, where Abi films seems to enjoy a lot of exposure compared to

the local clientele, as he gets invited to International film festivals or plays a major as in

the behind the scene work for the No 1. Ladies Detective Agency.

Locally, Moabi is spearheading the advocacy team which is been lobbying for the

establishment of the Interim Film Commission, following a study conducted by Money

Penny ( 2005 ). Wrote a letter and gathered signatures, petitioning the government to

create a film commission and to have funding for filmmakers in Botswana.

The petition has been making some rounds, and has made some overwhelming success,

coupled with the fact that the President has signed it.

Overall, Abi Films has been commissioned to do work for (MYSC). As part of the

initiatives of the (DAC) won the Storytelling Festival 1994. Was commissioned to do work

for Botswana Tourist Board 2002. In terms of working with other creative industries has

done work for David Slater Music, one of the companies covered in this survey. As one

of the Master Trainers, selected from 30 counties in Africa, Mogorosi has done training

26

for the Academy of the Arts, on issues related to arts and theatre. Internationally, he

has been hired by Canadian company Storyline, as one of their directors.

Cultural

Environment

Internal

Employment

Abi Films is a one man show which engages assistance whenever the

situation arises. 10 core all the time, but the number changes depending

on the magnitude of the production. Hire per production/contract. For

instance for the BOSWA series, mentioned earlier the director hired 10

students from UB, mainly from theatre and Media Studies. But during big

recordings the overall cast can involve as many as 35+ people.

External

Stakeholders

External stakeholders include local and international clientele who source

out Abi Films products. Works closely with connective Industries, where

he is commissioned to shot a video for some of the local artists such as

Vee, in particular Vee’s early music video Letlhale and Taku Taku . The

director has also worked with other groups such as Third Mind, which

specializes in motswako (hip-hop and folk) in their album Dilukile, which

paid homage to the members of the group who passed on because of

HIV/AIDS as well as some the legendary figures such as the three chiefs

who went to ask for protection from the British crown the 60’s. Has also

done work for one of the traditional music video gurus Eric Ramco, for

Earthworks one.

Mogorosi has also been commissioned by BDP to cover their campaigns at

various rallies in 2004.

Other jobs include 2010 Y-Care Documentary on their work focused on

Tourism and Culture, covering prime tourist areas such as Qwihahaba,

Makgadikgadi, Domboshaba, and Tswapong Hills among others.

Internationally, Abi Films was cited in 10/10 which comprises of clips by

filmmakers from all over the world in October 2010.

27

Mogorosi, says he drew a lot of inspiration from Maramotswe,as a

filmmaker because he could learn how a foreign director looks at

Botswana, and how that changed, following the significance and meaning

of the different scenes. This he feels was fascinating as he tirelessly

explained the shots to the director and the screen writer, and feels the

director Anthony Mangelia, director of the The English Patient, was very

receptive to some of the suggestions as he felt he had to make the “real

Botswana” story not something perceived from Western conception of

what Africa should look and sound like. Which he feels was a plus since

found the novel from which the film was adapted not engaging but too

simplistic.


Creation Mogorosi, with his double degrees in filmmaking and theatre conceives most of the ideas,

sometimes writes the script and asks people to play the different roles while he films the

event or is asked by the client to film a particular film for specific purposes. Mogorosi has

been running workshops for filmmakers and theatre practioners on how each could benefit

from the each other’s expertise and these synergies are paying off as he has managed to

make quality films with professional actors/actresses.

Production Depending on the size production, shooting could take a day or covered over months as in

full feature films.

Distribution Distribution remains a challenge for most African filmmakers as none of their films are

screened in the local cinemas as most people are always eager to watch the latest foreign

films especially Hollywood movies. And since film-making, is very expensive and yet under

financed, this limits outlets for distribution. Mogorosi has managed to distribute his works

via networks and use of the internet. He has participated at international film festivals

where some of his works received raving reviews, as films with stories and images that

reflected the Botswana life. But since there are very few film critics in Botswana, locally

most people not aware of his documentary work, while they know a lot about his film Hot

Chili.

Access As stated above it is easier to watch an African movie abroad than it is in Botswana. Some

of the films can be viewed on national television.

28

29


Turnover Very low depending on opportunities that come his way.

Expenses Include salaries, for those contracted at the time. Meanwhile His low

cost house also serves as a makeshift studio, since he does not have the

luxury of owning an artist’s loft, as is the case with some of the artists in

the West. He wishes he could own an office in Commerce Park but the

prices are astronomically high. Has identified, a plot out of town, in

Molepolole 45 kilometers outside Gaborone. However the plot has not

been developed due to financial constraints

Sources of Financing Not receive any government funding at present. Will be applying for EU

grants.

4. IMPACTS

Direct

Effects

Most of Abi Film’s income is generated through production of movies and

videos, the bulk of the budget goes to replacing the film equipment from time

to time or paying actors/actresses, as well as renting out locations for shooting.

On a smaller scale, he also makes some money from wedding and funeral

videos which are quiet a lucrative business in Botswana.

Indirect

Effects

The hiring of assistants offers the youth some exposure in the world of

filmmaking, and filming in the country side takes them away from the cities and

teaches them a lot about their country.

Inferred

Impact

One prestigious involvement was Mogorosi’s role in the filming of the The No1

Ladies Detective Agency, documentaries for Botswana Television. During the

filming he did most of the behind-the scenes work together with other Batswana

who were appointed to work in some key areas: cultural sector (Gaolape

Bashupi) Music supervisor (Solo B), dialect coach, and lots of Batswana who

filled in as extras. He feels that, although Batswana were not operating at the

level of supervisors, such as director, producer, cinematographer etc. the crew

nonetheless tapped into Batswana’s expertise in order to come up with a truly

Botswana story.

30

5. CONCLUSION

One major obstacle faced by the film industry is that it is a very expensive enterprise. For

example Mogorosi says that it took him 12 years to raise funds for his first film. In order to

survive, he decided to put filmmaking on the back burner and concentrated on writing, based

on mainane folktales. Another concern registered by Mogorosi is that traditional music is not

well popularized, and he wants to see more films on this genre. To walk the talk he worked on

a video for Mogwana in 1991. He feels that if people see themselves in some of the images on

television, this can promote social cohesion and people need to see more of the local stuff on

television.

One of his recommendations is to create Botswana Producers Association, with proper

guidelines to maintain good standards, ethics informed by professionalism. Currently anybody

can posture as a filmmaker. This should start with a meeting of Botswana Producers’ Union and

go around the table to find out what each has produced before being accepted into the

envisioned producers’ guild.

He further feels that the visibility of the culture sector in Botswana, still leaves a lot to be

desired although they have been some inroads, with the cultural renaissance, and cultural

explosion predicated by the introduction of Television in 1999. Lack of infrastructure such as

cinemas and performance halls also stalls creativity.

Other cross cutting issues are similar to those addressed in the section on music and other

audio-visuals and include copyright issues and piracy. Because it is expensive to import some of

the materials for filming he things custom policies should re-visit this area, when it comes to

the levy that deals with blank tapes.

31

Study case n°5: TSOGA AFRICA THEATRE WORKS

Dates of visits and interviews: September 20

Background: TSOGA AFRICA THEATRE WORKS is involved in raising awareness through theatre.

Concentric Model for Cultural Operators: Creative and Cultural Industry


Factual

Information

Name of Institution TSOGA AFRICA THEATRE WORKS

Contact Details P.O. Box 81411i

(+267) 71878298/73652199

[email protected]

Area of Operations Theatre



Responsible Party Gabriel Modise

General Description Mr. Gabriel Modise is the Artistic Director for Tsoga Africa,

a youth coordinated organization which comprises of 10

artists as actors and actresses. It uses theatre as a way of

promoting culture and dissemination of information on

particular issues in order to raise awareness. Gabriel feels

that the group “provides entertainment and education for

empowerment on pertinent issues affecting Botswana”.

Therefore, its use of theatre to conscientize different

target groups is invaluable and has done a lot of work in

raising awareness about gender based violence during the

commemoration of the International Women’s Day in

Botswana. Another area, in which it has contributed

tremendously, is through collaboration with (YOHO), Youth

Health Organization, to sensitize youth about the dangers

of alcohol abuse and HIV/AIDS. At another level, TSOGA

mailto:[email protected]

32

AFRICA, is involved in training the youth in schools on how

to use drama to communicate with different audiences.

One of the schools that the theatre group works with, since

the past three years in Maruapula, one of the oldest English

medium schools, in Gaborone to celebrate Setswana

culture, through the school’s annual Setswana Week

Festival. An event which draws both Batswana and

expatriate parents whose children go to this school to

experience Setswana culture and enjoy Setswana cuisine.

Governance and Leadership The company is headed by Gabriel Modise who is assisted

by the other 9 artists in different roles. The company is

fairly new and is trying to find its niche in the performing

arts arena.

Perception of the Structure Given its infancy, I would say the company is doing very

well since it has been invited to perform at some of the

national events and has won of the competitions organized

by (BOTA) as the group with good social commentary. One

of the highlights is that the group uses a wide range of

mediums, from storytelling, dance, praise poetry, and

Tswana traditional music, as well as motswako hip-hop

style which mixes Setswana and English and is aimed at the

urban youth. The (DAC) has also started to engage the

group in some of their events. TSOGA AFRICA, did not have

its own infrastructure, for the longest time, but since it

rented an office, now clients know where to find them, and

this has boosted the group’s visibility. Again, the group has

applied for use of some schools after hours for its

rehearsals.

Cultural

Environment

Internal

Employment

Non-existent, the group is working together as a

cooperative and each member gets some kind of allowance.

External

Stakeholders

There is a lot of interaction with the stakeholders. The two

scenarios, being those that the group writes the script for

the client and performs it. Or the second scenario, where

the client writes the script asks the group to direct and

perform it. Given the training alluded to above, this means

33

that there is a lot of interaction, with schools and non-

governmental organizations such as YOHO, that the group

collaborate with on a number of projects. Overall, the

group has been actively working with government

departments to disseminate information on particular

issues, especially during the celebration of Wellness Day in

the different departments. The Director of Maitisong,

Roslyn Beukes, appreciates the group’s work has often

times invited the group to perform during the April Annual

Maitisong Festival. In addition, she has given the group

some space for rehearsals at Maitisong.

Other Comments

Theatre as stated in the inception report, is not a

professional field in Botswana, most of the artists still has

their day jobs and for the most part rehearses or meets

after hours.

34


Creation The value chain of TSOGA AFRICA is informed by its theatre for

development which addresses a wide range of issues as a way to raise

awareness. The skit, is prepared according to the message to be sent out

to the audience. The adaptability of the plays to different situations,

means that the time for creation will differ from one project to the next.

Sometimes the group works on a play which is eventually performed by

the students.

Production There are different phases of production associated with the final

product depending on what the topic is. Some of the productions are very

participatory where impromptu scenes draw in the audience, mainly

through the use of songs that everybody knows and the audience is asked

to sing along. Sometimes, the group will run a workshop, on

participatory theatre, and work with the specific group to come up with

its own performance piece. The group has also put some of the messages

on HIV/AIDS in song.

Distribution The final products are staged both in Gaborone and in other places

around the country, so one can say the group’s activities are truly

decentralized. During, December which is the national HIV/AIDS

awareness month, the group gets to tour most of the country, reaching

out to rural communities, and communicating through theatre. The

group also runs workshops to highlight the goods and services they

provide and share with the trainees the array of communication methods

which can be used to involve the audience and urge them to reflect on

their own situations.

Access There are wide gaps in terms of the communities, the group reaches

because most of the services they offer are revolve around Gaborone,

although the group strives to make its work as widely accessible as

possible. Unfortunately, none of the group members has gained wide

recognition as a playwright, although they do write the scripts for all of

their plays.

35


Turnover P20-50,000.00

Expenses Administrative, also pays for services, such as the bus that takes them to

shows etc. Other expenses include feeding performing groups. In cases where

they have to outsource additional actors/actresses. Recently the group

received some financial assistance from the government, from the

Department of arts and culture to support one of their out of town

productions.

4. IMPACTS

Direct Effects The company operates on a meager budget since it depends on availability

of gigs.

Indirect Effects Pays for props, and performance spaces.

Some community members have offered their expertise, and are coaching

the group in different acting methods. Theatre for development

practionners find this mode of transmitting information invaluable, since

the performances are in Setswana and can read both the literate and

illiterate, especially in rural areas where some people do not speak English.

Inferred Impact The group’s use of traditional performance modes such as story-telling, song

and dance and call-and response allows the audiences to enjoy the shows

since these dramatic methods are very participatory in nature. In a nutshell

this means that the group has something for everybody.

Networking, with artists from all walks of life has also raised the profile of

this emerging youth-led group, as their shows attract audiences from all

ages, so it minimizes the generational gaps which could be easily spotted

say at a hip-hop concert where the majority of the revelers tend to be the

youth.

This way of communication, in a way encourages amateur artists, to venture

36

into the world of acting and learn about other aspects of theatre such as

script writing and acting. Whenever they visit schools, Gabriel says there

are always young people who come to them to ask if they can be part of

their group once they complete their studies.

Another plus is that the group focuses on Botswana culture and heritage and

this creates a sense of nationalism as the audience is aware and familiar of

the material they watch on stage.

5. CONCLUSIONS

Tsoga Africa Theatre, has a lot of potential, which (DAC) should mine and use a model for other

groups to emulate, so that the group has subsidiaries in other parts of the country. One of its

strongest point is a departure from strictly advocacy-based matter, didactic drama, to one of

storytelling, where the audience is forced to decode some of the nuances involved in the

performance. Furthermore, the group should be trained so that it improves the quality of its

plays, in order for their plays to be performed on professional stages abroad, starting with the

region. It will be an advantage to have some of their plays aired on radio and television.

Needless, to say that the group has a huge potential as it uses the performances to reinforce

some of the messages passed through pamphlets and workshops. As elsewhere, in the world,

there is a growing interest in Botswana on the role artists can play in development

communication, and this group serves as a model in Botswana. If organized effectively, this

model can produce actors/actresses who can make a profession from their acting, and can be

used in national plays.

The glaring lack of infrastructure for the performing arts except for Maitisong, is a national

crisis which requires immediate attention. Artists with enormous acting skills and experiences,

leave Botswana to seek greener pastures in South Africa, because the atmosphere at home does

not allow them to grow once they complete their studies at the university, there is no forum to

allow them to gain more hands-on experience. In addition to infrastructure, training in arts

management is another area that artists, need to be introduced to, otherwise all the talent will

be lost in ad-hoc activities, which does not allow the groups to monitor and evaluate their

development. Groups should be trained in writing grant proposals so that they can source their

extra funding from other bodies other than the government.

At the recent event organized to commemorate Maruapula Setswana Week, the group ran a

workshop, for musicians who culminated in breathtaking musical theatre, where e musicians

who have never acted before combined theatre with music and passed on different messages to

37

the audience, about the need to promote and preserve Setswana culture. By tapping into

talents that the musicians did not know they posses, the group, demonstrated the need for the

creative artists to work together and draw from each other’s strengths, and how organized

collaboration can increase participation and contribute to being self-reliant. This kind of

innovation is not common in Botswana and is a step in the right which can be used to promote

exchange of expertise and collaboration among the artists to produce the best shows ever.

38

Study case n°6: ISSUES FASHION STUDIO

Dates of field visit: Questionnaire/Interview February 9 and Follow up interview March 25

Background: Issues is involved in fashion and design

Concentric Model of Cultural Operators: Creative Core


Factual

Information

Name of

Institution

ISSUES Fashion Studio(Pty) Ltd

Contact Details Shop # 10B Riverwalk, Gaborone, Botswana

(+267) 72595372

[email protected]

Area of

Operations

Fashion Design

Years of

Operation

10


Responsible

Party

Mpho Kuaho

General Description Mpho Kuaho is the Managing Director of ISSUES, the studio designs

costumes for all occasions, and the Director recently worked in the

wardrobe section of the No 1 Ladies Detective film, which was shot

on location in Botswana. One of the outstanding features about

ISSUES is that it works with a wide range of fabrics including the

local fabric, called German print. This studio is popularized through

radio and participation in local and regional design competition,

such as the Joburg Fashion Week, Mozambique Fashion Week, and

Durban Designer collection among others, which allows it to enjoy

some international exposure.

39

Governance and Leadership The company is managed by its owner/managing director, Ms. Mpho

Kuaho, who holds a BA honors in Fashion Design. The studio has ten

employees, two males and eight females who help in terms of

cutting, sewing etc, while the bulk of the designing is done by Ms.

Kuaho. In addition Ms. Kuaho is responsible for the overall

administrative and logistic duties regarding the day to day running

of the studio. While Ms. Kuaho is the only trained designer, other

employees have worked in the fashion and textile industries and

bring their wealth of knowledge to complement, the Manager’s

skills.

Perception of the Structure The studio is one of the emerging designing hubs in the country.

Located, centrally in the capital city, Gaborone, it attracts clients

from outside the city especially when it comes to designing

costumes for weddings and other special occasions. It is very

popular especially among the youth and professionals.

Cultural

Environment

Internal

Employment

As already stated this is a relatively new and small studio with only

ten employees. From time to time the studio hires extra help if

they experience a backlog of orders.

External

Stakeholders

There is minimal interaction with the stakeholders except when it

comes to suppliers of fabrics and equipment. But since most of the

fabric is sourced from outside these has financial implications say

compared to material from south Africa which is readily available

in the local stores. Perhaps, that explains why her costumes are a

bit pricy. Government is embarking on several projects, with non

governmental agencies, such as the UNDP to promote textile

industries and help to diversify the economy, through

entrepreneurial initiatives. Once funding is provided to companies

such as this one, they can produce clothes for export which can

help brand some of the Fashion Designers in Botswana.

Other

Comments

For purposes of the survey, ISSUES is analyzed mainly in terms of its

services as a creative industry. But in the case of ISSUES director,

being invited to work in the wardrobe section of a film production,

this serves to provide other opportunities for the designer away

from her studio. Some celebrities visiting the country have also

used her services and had costumes designer for them while in

40

Botswana.

It has been difficult as it will be seen in other case studies to get

the figures in terms of annual returns and profits made by the

industries. However, Ms. Kuaho estimates her annual returns at five

hundred thousand pula (P500, 000.00) per annually, which is

approximately fifty thousand Euros.


Creation The value chain of ISSUES rests in the fact that it not only produces

clothes for individuals, but it also dresses celebrities and prominent

personalities in both the creative and cultural industries. An ISSUE has in

the past produced costumes for theatrical productions as well. On the

local scene, her mixing of traditional fabrics with fabrics from over the

world has earned the designer some stripes in the local market.

Production Different phases of production associated with the technical aspects of

design studios are typical at ISSUES, these range from pattern-making to

packaging of the finished products to be shipped to respective clients or

companies.

Most of the materials are sourced from overseas, where the Director

makes trips to identify fabrics that she knows will make her designs

unique in the local market.

Distribution After displaying some of the items in the shop, these finished products

are delivered to the clients. In some instance, some costumes are

designed for sale not as a special order for a particular client. To extent

its market, the company also participates in trade show both locally and

in the SADC region. As a result the company has received orders following

participation in these shows and it has proven to be a lucrative avenue.

The company also has adverts running on the radio stations from time to

time.

Access The company enjoys support from both the youth and young people

because of its competitive edge when it comes to some of the clothes in

the stores imported from South Africa. Compared to products designed by

41

local tailors the company has been criticized for being too expensive, but

those who understand fashion, feel the price matches the workmanship

and the product, so they are happy to go an extra mile. Ms. Kuaho brings

with her welfare of marketing strategies and exposure having received

her BA Honors in Fashion Designs from one of the best schools in South

Africa.


Turnover P500,000.00

Expenses General maintenance (equipment, motor vehicles, production equipment,

salaries etc.).

Products The company sells mainly designer’s costumes to clients and theatrical

groups. Some place special orders while others buy stuff that is already

designed and placed on display.

42

4. IMPACTS

Direct Effects

Indirect Effects

Inferred Impact

The company operates on a tight budget since it does not receive any

funding from the government but has stayed afloat by networking and

working with the various stakeholders on other initiatives not directly

related to creation of costumes, the versatile nature helps the company to

work indirectly with various stakeholders including the government.

As stated above, by departing from its core business of producing garments

and branching into connecting with other creative industries the company is

able to generate some extra income.

By participating in local and regional fashion shows the company has become

one of the household names and regionally it has helped in promoting a

sense of fashion and designs associated with Botswana, which can serve as

some form of tourist attraction for both emerging ad established designers.

5. CONCLUSIONS

ISSUES has managed to attract and retain a certain clientele because of its unique designs that

cater to a specific upper market consumers and fashion trend setters who are looking for

something more than just the ordinary locally produced designs. Although only in existence for

ten years, the company has overtaken some of the designers who are usually housed at the back

of fabric shops. A young crop of young designers trained mainly in South Africa and Australia

are injecting a new fashion acumen in the country which in the near future could reach global

appreciation, such as that of Algerian born designer Alfadi, through the distribution of their

unique products characterized by an eclectic touch which infuses styles and fabrics from around

the world—and ISSUES is exemplary in that respect.

While there is a group of students who have graduated in Fashion and Design, most of them

don’t have sufficient funds to start their own businesses. So , one finds that they only work

from home on in small kiosks and only design for friends and families who would have been

introduced to them through word of mouth. However, some of the beer companies usually

43

commission fashion shows and ask the young designers to showcase their works. That’s another

avenue through which they advertise their products.

However, if it is to really make its mark on the world map, I think ISSUES, should invest in a

website which would help in advertising their clothes online, allowing it to reach a reach a

wider market. In addition, it should look at training of new workers and designers, so that the

products can compete at international level in terms of finishing and other aesthetics.

44

Study case n°7: THAPONG VISUAL ART CENTRE

Dates of field visit: Questionnaire/Interview January 18 and Follow up interview March 15

Background: Thapong Visual Art Centre focuses on residence programs and workshops that focus

on creation of Visual Arts

Concentric Model of Cultural Operators: Creative Core/Visual Arts


Factual

Information

Name of Institution Thapong Visual Art Centre

Contact Details P .O. Box 10144

Gaborone. Botswana

Area of operations Fine Arts

Years in Operation 21

Legal Form Trust

Responsible Party Reginald Bakwena

General

Description

Thapong is an arts village that runs creative workshops. It brings together

artists to work on their products or others bring finished products for display at

some of the annual exhibitions focusing on specific theme. Most of the artists’

work in addition to being featured at Thapong is also exhibited at the National

Museum for the public to view and buy.

Governance and

Leadership

As the Director of the Centre Mr. Bakwena, and a painter himself, serves as a

broker between the artists and potential buyers to help with the promotion

and distribution of the end products. In order to secure funding for the Centre

he liaises with local and international donors for funding. He also works with

his three employs to write grant proposals and come up with budget and a

programme proposal for the year.

45

Perception of

the Structure

Thapong is well known in Botswana as the fine arts creative hub, and has

features in some of the country’s tourist magazine as well as in-flight

magazines. Some tourists visit it to buy art while they are traveling through

Botswana. The artists’ work is recognized both locally and internationally.

Their nights of arts with music and presentations by artists are now a

permanent feature in the national calendar.

Cultural

Environment

Internal Employment: Thapong employs four people including the Director.

One office assistant who is also the receptionist, other employees serve in

various duties, driver etc. The structure is not rigidly formalized. When they

are exhibitions some of the local artists volunteer to help.

External Stakeholders: The external stakeholders are the suppliers of various

services as framing, and the clients who buy the art products. Thapong has

also been popularized by the French Embassy which funds one of their projects

each year since 2005 and donor agencies such as the EU funded one of their

projects in 2009.

Additional

Comments

Some of the concerns raised by Bakwena are:

Lack of appreciation of fine art in Botswana compared to South Africa where

he went to school. He feels that in order to bridge this gap children should be

introduced to fine arts and allowed to work with various media from an early

age, and encouraged to treat it as a profession.

The government should invest in academic programs that focus on the arts and

create viable avenues for the artists to set up their own businesses and make a

living out of the arts, which he thinks is not the case at present.


Creation The inspirations for creation vary from one artist to the next, some use charcoal,

others use mixed media some are printmakers and painters. On some occasion

the artists show Botswana crafts such as pottery and baskets. Mine competitions

are held and the best pieces are exhibited at the annual Thapong competition

held at the National Museum. This also serves as a way to include artists who do

not necessarily reside in the capital city.

Production The time to complete a piece varies to from artist to artist. For instance if the

46

artwork is commissioned and has to be finished by a certain date, that means

that, the artist will make an effort to beat the deadline. While a piece of work

might take a month to three months to complete, on the other hand some

abstract work can take as little as half an hour. Once the work is completed the

artist is advised to send it to Gallery Ann (one of Thapong’s preferred framers

for framing and possible sale following the exhibition, the work has to be

exhibited first in order to expose the artist’s work.

Distribution Marketing and distributing art in Botswana still remains a major challenge,

although there has been a directive from the President in 2009, that all

government offices should display works by local artists. This in itself has been a

major break- through but artists complain that those buying artworks for

government office do not buy them at appealing prizes, so at times artists are

forced to sell their works for a song.

Alternatively, artists prefer to talk to a gallery to display their work for some

time and wait for the best offer. A label with the artist name and contact

details is left with the gallery so that the artist can negotiate directly with the

buyer.

Other avenues where artists get a chance to showcase their works and hope for

good sales are exhibitions (usually held at the National Museum in Gaborone) as

well as the expos, locally, regionally and internationally. Some potential buyers

at times call Thapong to make to look at the art especially that of the artists in

residence. This is where the Director, who is also an art critic, helps the artist

in the negotiating process.

Access Most of the work by Thapong artists and friends of Thapong is displayed at

various galleries and public places throughout the year where the public can go

and view the works. Such places include Alliance Francaise, Botswana Craft

Centre as well as Thapong and the National Museum as mentioned earlier.


Turn over P

Expenses Travel costs for artists coming out of town, production, paints, paint

brushes and canvases for workshops held both on site and at various

47

parts of the country.

Products Fine art paintings, coupled with advocacy for funding through

workshops, which show case both established and emerging artists.

Most of the activities are meant to raise awareness and cultivate the

spirit of entrepreneurship especially among young artists.

Sources of Financing Since 2008, Thapong has enjoyed a lot of support from various

embassies and donor agencies such as the EU, for example the French

Embassy sponsors one of their annual projects. The government also

through the Arts and Culture department sponsors the Annual Thapong

Visual Arts Award. While the National Museum and Art gallery sponsors

through a salary for one of the employees

4. IMPACTS

Direct

Effects

The proceeds from the artists’ sales go directly to the artist, with Thapong charging

a minimal fee for display and related advertisement costs. This in turn helps

Thapong to bring in more artists.

Indirect

Effects

The suppliers of the material for creation benefit indirectly as well as the different

caterers who supply food and beverages at these occasions.

Inferred

Impact

Thapong art work serves as a gateway into Botswana culture since it engages some

indigenous motifs in its creation. Because of its visibility through the print media

and its annual awards, tourists are more likely to know about it prior to their visit to

Botswana.

5. CONCLUSION

To date, Thapong is one of the active fine arts studios in Botswana, which because of its

newsletter and other advertising channels has carved a niche and reputation in Botswana as the

number one destination for fine arts. Furthermore, the centre offers one an opportunity to rub

shoulders with artists especially during the annual Thapong Artist of the year Awards ceremony.

Works by various artists who have participated in the annual awards competition can be spotted

at some of the five star hotels in town as well as in government offices. Botswana Craft a

48

connective, creative industry which will be discussed in the final report has also played a

significant role in promoting local fine artists.

However, as stated earlier, fine art distribution and consumption in Botswana still faces a lot of

challenges. Most of the artists still have to keep their day jobs as most of the people are not

into buying expensive art pieces, although one must say the situation is changing gradually.

Through the SADC artist workshop, artists are able to establish networks and explore markets in

the neighboring SADC countries. Some even go to extent of establishing South-South

collaboration, which in my opinion is a step in the right direction. Some of the artists who have

benefitted from the Thapong center have exhibited their work internationally. And most of the

artists already have their works online.

49

Study case n°8: Mud Hut Productions

Dates of Field Visit February 18, March 11

Background: Mud Hut Productions is involved in music production

Concentric Model for Cultural Operators: Creative and Cultural Industries


Factual

Information

Name of Institution: Mud Hut Productions

Contact Details P.O. Box 498 - Gaborone Botswana

(+267) 393104


website: www.mudhut.co.bw

Area of Operation: Music Production



Responsible Person : Solo B. Monyame

General

Description

Mud Hut specializes in audio productions and broadcast productions. It is consulted

by different radio stations and television stations in Botswana to offer music

targeting a specific audience. It also works with companies to come up with their

signature tunes on radio and television (i.e. retail radio). In addition it specializes

in in store audio, which are fitted at various malls in Gaborone. It recently

commissioned to provide music by the BBC for the No 1 Ladies Detective movie

which was shot in Botswana. It sourced various types of music and supervised the

incorporation during the shooting. It also followed with (IBR) to ensure that the

melody was in synch with the scene at hand.

Governance,

Leadership

Solo B. Monyame is the Managing Director, who is also a producer. The studio has

two full time sound engineers, a producer and a sound assistant.


http://www.mudhut.co.bw/

50

Perception

of the

Structure

Mud Hut is a well branded studio and is know n as the premier production facility in

Botswana, which has produced a lot of local and regional music. For the longest

time, it has enjoyed the monopoly of the production industries although now you

have a lot of players on the ground. To date it still produces most of the corporate

tunes and ringtones for various mobile telephone companies. It also does music

aggregation, recording for television and movies as the example cited earlier on

The No 1 Ladies Detective movie

Cultural

Environment

Internal

Employmen

t

Mud Hut has a total of twelve employees, including two sound

engineers, one assistant producer, receptionist, account, security

guard and other assistants who are contracted on part time basis as

need arise.

External

Stakeholde

rs

External stakeholders include business community and the artists.

Minimal use of outside products except for hiring out headphones

from time to time. The Director, says the studio equipment is a

once off purchase, one invests in and only replaces technology from

time to time, say every two years or so.


Creation Operating as a production studio, Mud Hut has two major types of clientele: The

Corporate Commercial, who are not creative per se but need a creative product say

for advertising purposes. So Mud Hut will do the clearance for music etc. So the

company will discuss the creative component before and during production until

handover of the final product. They will do the same for cellular companies and

other clients who want (IVR prompts). The situation is different with artists who

come to the studio knowing exactly what they want, and will need little assistance

from the producer for the most time except to tell him what they want.

Production As stated above, in production the client states their creative needs to the

producer before the production takes place so that each party knows which part to

play.

Distribution There is very little distribution since this is not a recording company, so does not

deal with record labels. Most of the recording is done on location. The studio has

website which the Managing Director feels it’s been used mainly by outsiders

51

compared to its usage by locals.

Access AS stated above, the majority of the clients are corporate and multinational

companies such as BBC. So Mud Hut has carved a niche in retail radio, in-store

audio, television and radio music, and IBR’s among others.


Turnover Estimated at about three million pula per annum

Expenses Include salaries, overheads, lease for the building, utilities and other

related costs associated with the running of a production studio. Internet

was quoted as one of the major expenses by the Managing Director, since

broad rate tends to be very expensive in Africa.

Sources of Financing Since it is a commercial entity the studio generates its revenue.

4. IMPACTS

Direct Effects Most of the stakeholder’s income is generated through production services,

there is need to keep the studio in a position that competes with other

production houses. There most of the money goes into the updating of

technology and training cutting edge engineers, who learn from veterans

from Botswana and South Africa who visit the studio from time to time for

jam sessions and experimenting with different sounds. The studio also

incurs expenses for copyright and administration fees.

Indirect Effects The purchase of equipment or rental of some of the equipment, as well as

hiring more technical stuff if the company is commissioned to do a big

project. Some of the indirect effects border on creation such as hiring

someone for voice over and having to create employment for them by paying

for talent fees.

Inferred Impact One prestigious example was when the company was commissioned to

source music and supervises music production alongside the film team for

The No 1 Ladies Detective Agency. This made the public to be aware of the

studio’s reputation in terms of quality sound which matches international

standards. The project itself exposed the filmmakers to the wealth of

52

traditional Botswana music in particular in addition to other emerging

musical forms in Botswana. Through this project, some of the musicians

whose music was featured were later herd hunted for international projects.

5. CONCLUSION

Mud Hut is one of the reputable production studios in Botswana, and most of the young sound

engineers count themselves lucky if they get an internship with Mud Hut. The Managing

Director, Solo B. Monyame is himself a musician, who is at the forefront of the debates on

copyright law in Botswana. His collaboration, with one of the folk artists Stampore, recently at

a concert to raise money for Haiti, brought both his talent and company to the lime light in

Botswana.

Mud Hut, like any production company, faces the challenges of production, where a creative

product can take less time if the client knows exactly what they want or linger on because of

the bureaucratic red tape especially when it comes to government projects.

While the Managing Director feels that the creative arts are making in-roads in Botswana, he

also feels that there is need for the creative arts to be formalized, and that artist need to be

taken seriously not just as people who play guitars (bo mmasekanta).

Another challenge that he thinks music production faces in Botswana is that although there is a

lot of Tswana music produced, it does not enjoy the same airplay like some of the foreign

tunes. He feels that licensing is not done with the view of empowering the local artists.

Botswana has a local content regulation, but what it lacks is monitoring, evaluation and

implementation of this regulation.

Mud Hut’s next project is to encourage local artists to produce a music which will reflect them

as Batswana, and he hopes this could be done through collaboration between established and

emerging Batswana artists.

53

Study case n°9: David Salter Music

Dates of Field Visit: February 7 and March 15

Background: David Slater Music is involved in providing a range of musical services to the

corporate clients and church choirs and does voice training for those interested in singing

classical music.

Concentric Model for Cultural Operators: Creative and Connective


Factual

Information

David Salter Music

Contact details P.O. Box 144, Gaborone BOTSWANA

Tel: (+267) 3900398

Email: [email protected]

Area of Operation: Music, organize concerts and promote musicians, teach

voice.

Years in Operation: 3 years prior for this was the Director of Maitisong.

Judicial Form: Company

Responsible Party: David Slater

General

Description

David Slater is one of the best known conductors and promoters of classical

music in Botswana. He has been involved in the Music Industry in Botswana for

21 years, as the Director of Maitisong. Run by Maruapula School, Maitisong is

one of the artistic and cultural hubs in Botswana, located in the capital city

Gaborone. As Tim Doling notes in his research on Cultural Profiles “It is the only

functioning theatre/arts complex in the country. Dedicated to promoting the

development of local performing arts. It provides on-going programs related to

the arts, and holds an annual festival running for a month every April which

brings artists from South Africa and Botswana together. Maitisong also maintains

a database of performing artists in Botswana. With this wealth of experience as

the Director, David Salter Music continues to offer some of the services that are

offered by Maitisong at a smaller scale.


54

A classical musician by training, David Salter enjoys teaching young Botswana

about classical music, i.e. singing, vocals and accompaniment. He has conducted

some of the orchestras for the past 15 years. He organizes concerts and

promotes young musicians. Every year in April he brings and orchestra from

South Africa and have some of his students play with the orchestra in supporting

roles.

Since, 1986 David Salter has been instrumental in organizing the annual EU/BFIM

concert which is part of the Maitisong Festival. This is the only show in Gaborone

that encourages classical music. While the concert was defunct for a while, it

was resuscitated by EU in 1997 to do the Beethoven Symphony, which is also

used by the EU as its anthem. And ever since then BIFM has been very keen and

supports the concert.

Additionally the company offers both group and individual voice and piano

lessons.

Governance,

Leadership

The company is managed by David Salter, plus an office assistant.

Perception

of the

structure

David Salter Music is the only company in Botswana that offers instruction on

classical music. Lots of church choirs who want to do classical choral music say

Mozart, Bach, Handel always seeks his expertise. Two of his products, KTM and

Sedibeng Choral Choir are the selling points for his company as they are well-

known, not only in Botswana but internationally. Overall, products, the

company are recognized in the country as the training centre for choirs and

individuals interested in learning more about classical music. As stated earlier,

corporate entities source artists to perform for their up market clientele

through David Salter Music. In addition, David Salter together with other

musicians and music educators run the annual Music concert which takes place

in December.

Cultural

Environment

Internal Employment: The company is very small in terms of employment. The

Company director is assisted by an office administrator. When it comes to

running the annual concerts, the company employs an extra person to work

along with the director.

External Stakeholders: Corporate clients, big corporate banks, and other

corporate establishment who use the artists recommended by the company as

well as the public in general. Other stakeholders include corporate entities who

55

engage David Salter Music to put up a specific concert.

Additional

Comments

David Slater Music is unique as the only company in Botswana which provides

training and appreciation of classical music. Because of the Director’s

contribution to music in Botswana, he is always consulted by the government on

issues relating to music and the performing arts.


Creation The creation process involves working with the artists in preparation for the

client specific project, and delivers the final product.

Production Once the client’s specific demands are identified and discussed with the

manager, the manager can start working on organizing the concert, by

commissioning whatever services or skills are required to stage the concert or

performance.

Distribution The company distributes music through promotion of artists especially young

musicians, who play at various corporate gigs. In addition the company from

time to time advertises the services they provide through flyers distributed

during some of the shows at Maitisong.

Access The company is highly accessible with David Slater being synonymous with

classical music and the promotion of performing arts in Botswana for the last 25

years. However, the classical music concert itself is elitist and speaks to a

limited audience since very few Batswana are well versed in this tradition, let

alone being taught to appreciate this kind of music. That being said a lot is

changing with the younger generation as a lot of the young artists want to move

beyond singing hip-hop (motswako).

3. ECONOMIC STRUCTURE OF THE STRUCTURE

Turnover: Approximated at half a million pula, P500, 000.00 or fifty thousand Euros. This is

invested back into the company.

56

Expenses: The day to day running of the company, salaries, utilities bills, hiring locations and

some equipment and other related concerts associated with concerts. Becomes

costly if he has to bring an orchestra from South Africa.

Products: Music training and supervision of some projects to reach a certain performance

stage.

4. IMPACTS

Direct

Effects

The turnover is spent on salaries and other overheads as stated above.

Indirect

Effects

The company provides the invaluable service of professional music training, especially

when it comes to classical music. While most students do not go on to sing as classical

musicians, they still use the talents learnt to sing gospel and choral music. The public

is beginning to appreciate classical music and choral music has always been a staple in

Botswana musical repertoire. This impacts on tourism, as some tourists know the

annual orchestra concert as something to look forward to while visiting Botswana in

April.

Inferred

Impact

Slater Music serves as a bridge in the absence of certified academic programs in

classical music. With the introduction of the Visual and Performing Arts programme at

the University of Botswana this coming August, he has been identified as one of the

practicing musicians who can come in from time to time to teach students about

classical music since he understands both the theoretical and practical nature of

classical music. By teaching and promoting young artists, Slater has managed to

compliment some of the classical pieces with a touch of local rhythm. This has

contributed tremendously to the appreciation and ability to perform classical music for

a variety of audiences.

5. CONCLUSIONS

Slater Music is a welcome intervention which trains young musicians to compete globally. Most

of Southern Africa boasts of choral music and this has allowed Botswana to participate in some

of the regional competitions. To large extent the art scene in Botswana is influenced by what is

57

happening in South Africa and one finds that the Botswana choral groups in particular try by all

means to hone their skills in order to match those of the choirs across the border. There the

company enjoys a lot of integration with neighboring South Africa where it imports orchestras

to perform in Botswana. At another level, the choirs sometimes participate in arts festival in

South Africa such as the annual Grahamstown Art festival. The Sedibeng Choral Choir, which

Salter has trained, is the shining national example, which showcases its talent as part of the

annual President’s concert.

One of the challenges which Slater sees in some of the performances, when it comes to

performing classical music is lack of background, especially the history behind the different

styles. For example, one can’t sing a Mozart piece, say in the same way that one would sing a

Tswana folksong. A lot he feels has to be done if the young performers have to render the

classical pieces in a more professional manner.

58

Study case n°10: Star Reality Television Show

Dates of Field: Visit January 25 and February 25

Background: My Star focuses on talent search and development targeting aspiring singers from

all genres and age groups.

Concentric Model of Cultural Operators: Creative Industries


Factual

Information

Name of Institution My Star

Contact Details P.O. Box 402883, Gaborone, BOTSWANA

(+267) 3974736

Website: www.mystartvshow.com

Area of Operations Music



Responsible Party Keabetswe Master Dee Sesinyi

General

Description

Master Dee is the Managing Director of My Star, which is a T.V. show is

broadcast live on Botswana Television on Sundays at 18:00 to 19:00 hrs. And is

one of the widely watched shows by the youth in Botswana who are aspiring to

polish their skills as musicians. The show starts with 20 contestants, and runs

eliminations hit each week until it is left with the final top three who enter

into a completion which decides who the winner is. The Minister of Sports

Youth and Culture attends the grande finale, and following this the winner is

taken abroad by the Director for exposure in the U.K. This is a seasonal show

which lasts from January to July. It is held at the Botswana Television complex

and artists invite family, friends and fans to watch them perform. Through the

performance, the contestants are given feedback by a panel of judges, which

comprises of on DJ, a local business woman and actress and Master Dee

himself. In a way It is like the American idols show at a rudimentary stage. In

http://www.mystartvshow.com/

59

addition, the show plays a double role that of edutainment as it teaches the

contestants to write their own lyrics, and coaches them on stage presentations

as well as voice control. The contestants are encouraged to make the lyrics

sound like a song.

Governance

and Leadership

The company is managed by its owner/managing director, Mr. Keabetswe

Mosinyi, together with his two assistants. Overall it employees around 21

individuals who serve in different roles to ensure that the show runs smoothly.

Perception of

the Structure

The show enjoys a healthy audience as most of the youth are hooked unto it.

Some parents whose kids take part in the show also sure equal interest. I

would say a lot of people in the country who have access to television know

about it. Some see it as an avenue to hone the performers’ stage and

performance. At the national level, President Lieutenant Ian Khama Seretse

Khama has come to its rescue by funding it when it was on the verge of

collapse due to economic constraints. My Star, is seen as an initiative which

could keep the youth out of the streets and the danger of being involved in

risky behavior if they are introduced to music early in that lives and could use

it as a means to generate some source of income an alleviate poverty by being

self sufficient.

Cultural

Environment

Internal

Employment

As already stated this is a relatively new industry, with mainly

two key players and a lot of people only hired on ad-hoc basis

when the show is running

External

Stakeholders

There is minimal interaction with the stakeholders except

when it comes to the services such as transport which is

offered to people who come to participate in the show. Other

services such as costume and makeup artists are hired by the

contestant not the company per se. Government is showing a

lot of interest in the program and will probably become one of

the major stakeholders in the near future. Last year the

President endorsed the show and gave My Star P90, 000. 00

ninety thousand to help in the running of the show. This is

seen as one of the programs with a potential to prevent

harmful Behavior by not only promoting but also capable of

producing a cadre of entrepreneurships, who will eventually

become self employed as creative artists.

Other Comments One of the objectives of My Star is to ensure that the

60

contestants get an international exposure. Among other

things they are taught about Intellectual Property Rights so

that nobody takes advantage of their creative products. They

are cautioned about their right that their music should not be

played on the airwaves for free.


Creation The value chain of My Star is complemented by the fact that it does not only

show case talent, but serves as a learning curve where the artist is given on the

spot feedback on their performances regarding areas in which they need to

improve. The creative process is an on-going one until one reaches the final

position. The contestants come to the show with something to showcase and

are advised accordingly by the three judges.

Production One would say this is like “a script in the making”; the creation is closely tied to

the production which culminates in the grand finale completion where the

winner is announced.

Distribution The airing of the show is the major form of distribution as it is consumed by the

views. Furthermore, the opportunity for the winner to travel overseas can be

seen as distribution as well. From time to time radio stations play tunes by

some of the contestants from My Star, if they have their music on CD already.

Access The show is readily accessible since it is aired on national television. It also

enjoys a lot of support from the youth in particular. With experience in the

music industry for over 21 years Master Dee too, has a pool of fans who watch

his show.


Turnover P500,000.00 (Approximately Euros)

Expenses Salaries and fees for television show.

Products The products are the creative talents showcased in the show.

61

4. IMPACTS

Direct Effects The company operates on a minimal t budget since it did not receive an

external funding, except for the new developments where the President

gave it some money.

Indirect Effects By participating in international shows such as shows in the United Kingdom

the company has made itself visible outside of Botswana. This has inspired

a lot of the youth to take an active part in the competition. The show also

creates a market for designers and makeup artists.

Inferred Impact My Star has been in operation for four years and within a short space of

time has fuelled a lot of tourist attraction. From time to time one finds

some tourists in the program. Creates employment, for instance the winner

walks away with P25, 000.00 (twenty five thousand pula).

5. CONCLUSIONS

One of the convictions held by My Star is that there is a lot of talent in Botswana which is only

waiting to be unearthed. The Director is also sees this show as a way of taking music to greater

heights, as a way of economic diversification, where the contestants can venture into other

industries such as music instead of depending only on cattle and diamonds. The Director feels

that they could do better than they are doing now if corporate social responsibility was

encouraged in Botswana. Right now he laments the fact that they are only sponsored by onej

cellular company, MAScom, and he urges other corporate companies to show interest in the

promotion of the creative arts.

62

General recommendations

One of the cross-cutting concerns which came through the research, interviews and the two

thematic discussion workshops are as follow:.

Need for funding for the arts if creative industries are to be promoted, and used by the artists

to earn a living, instead of depending on their day jobs for the most part. Those interviewed

felt that budgeting pays little or insufficient attention to the role played by creative industries

in the country’s economy.

To curb the above deficiency, creative artists felt that there should be a Botswana Arts

Council, which should be mandated with issues of funding the arts among other things.

According to Director of (DAC) The Arts Council for Botswana has been approved by cabinet and

she is working on the draft of the act with a reference group comprising of stakeholders from

various groups. Training facilities for arts education should be introduced at an early stage so

that children can develop appreciation for the arts and major in the arts in college. Thapong

Director in particular felt that there should be schools to train the artists in different aspects of

visual arts, so that most of them are not concentrated in one filed say sculpture. The

University of Botswana has recently introduced a program for Visual and Performing Arts

(VAPA), but does not have the right infrastructure and the staff at present to compete with

well established Arts Institutions in South Africa. Botswana therefore should come up with its

own National school of arts which will complement other courses offered by, Molepolole College

of Education, (DVET) Department of Vocational and Educational Training and Oodi College of

Applied Arts Design and Technology, opened in 2009, which most people already feel does not

have the right teachers nor the right curriculum to carry out its objectives as a school for the

performing arts. This concern is not peculiar to this school alone in Botswana.

In terms of the artists themselves, it was felt that they need courses in arts management, so

that when they enter into contracts, they will have a clear sense of what it is entailed and also

understand the day to day running of their businesses.

The lack of infrastructures for the creation and dissemination of both the goods and services of

the artists was another, concern and that both government and non-government agencies

should partner in creating and providing spaces for artists’ businesses, and display of

performances, as well as rehearsals in the case of performing arts.

One of the observations was that creative artists tend to work in isolation, while they could tap

into each other’s skills if they knew of each other’s expertise, and the level of professionalism

involved, and therefore it was felt that artists should create guilds, for the different creative

industries and meet to share ideas, or to carry out collaborative projects from time to time.

63

Creative artists in Fashion and Design, Film, creative writing, felt that they were often

sidelined, and felt that they should be given more recognition and funding in the same way that

music has benefited from partial funding from donors and (DAC).

Most people interviewed felt that it was high time the National policy (2000) was revised if it

is to truly support the creative industries in Botswana.

In traditional music, one of the directors of the dance troupes, felt that there were very few

people trained as choreographers or dance scholars in Botswana and that the government

should inject some money into structured training facilities or institution where dancers and

choreographers can be trained via different levels until they are certified as instructors, if the

government has to live to its ideals of promoting and preserving both tangible and intangible

culture in Botswana.

One of the main concerns in the audio-visual industries was piracy, although recently the

creative artists have lobbied and succeeded in the creation of the Botswana Copyright Society,

and they have currently advertised for a CEO.

On the whole Botswana needs art critics, and should start with art journalism, so that those

reporting on creative industries don’t just give the venue and the names of the artists’ but

should write in a manner that gives one the a sense of the performance or exhibition.

Overall, there is need for capacity building in the (DAC), to train the personnel in research and

engagement with stakeholders, including those who are not receiving and funding from the

government.

Some artists felt that the (MYSC) should engage the artists in the running of the art-based

competitions which take place around the country at different times of the year instead of the

Ministry trying to use its personnel to run it, even those who are not cued on, in terms of what

to look for in some of the genres. Another concern was that some of the personnel working at

(MYSC) owned consulting companies, and the tendency was that hey award tenders to their

consultants, instead of hiring consultants on merit and ability to deliver.

The artists also felt that they needed increased exposure, so that the world could come to know

about their services, and where possible engage in collaborative initiatives. Today, they felt

that they were some groups who were favored over others when it comes to overseas trips.

On my part I think there is need for decentralization, since most of the arts activities are

concentrated in the capital city, Gaborone.

Although only one company interviewed for the survey focused on cultural tourism, I think more

studies should be carried out to exploit the potential of cultural tourism, and fund such small

scale businesses such as Wacuna cultural Village in Ghanzi.

64

Finally, if the new economic diversification project is to work, the different ministries should

work together to ensure that they minimize the costs, while brining in business people and

artists to work together and complement each other as way to promote social cohesion.

65

III. FINAL SECTORAL ANALYSIS

Theatrical Arts

Phase

Cre

atio

n

Remarks

Most of the theatrical activities are

sponsored by the government and

revolve around certain issues such as

poverty eradication, messages about

HIV/AIDS. The plays by (YOHO) Youth

Health Organization are used to raise

awareness about HIV/AIDS. While

some plays are based on classical

plays. Therefore the creation differs,

where the client asks for a specific

play to address specific issues say

commissioned for a political rally.

The genres vary from comedy to

theatre for development. Most of

the plays are not based on a specific

script but the director and the

actors/actresses work together on

the piece to be delivered after

agreeing on the storyline.

Recommendations

A lot of artists in Botswana are not fully

remunerated for their services, so acting has

not really reached the level say similar to that

of artists in South Africa whose services are

engaged throughout the year. But with a young

cadre of Batswana trained in south African

schools, the country is experiencing some kind

of paradigm shift from didactic theatre to other

avant- garde modes which incorporated

elements from different cultures and different

schools of thought in theatre. I think if theatre

has to evolve to meet international standards in

Botswana, there should be training at an early

age in acting and promotion of script-writing by

locals. Other area which needs urgent attention

is to have a pool of directors who can advise

the different groups in their projects from

creation to production.

Pro

ductio

n

The production phase involves a lot

of people besides the

actors/actresses, such as stage

designers, light engineers, wardrobe

and make-up artists. However, for

the most part the artists fill in the

different roles since they have to

make do with what they have unless

A lot needs to be done in terms of securing

professionals who understand a lot about

costumes, and time periods. One finds that in

some of the scenes say depicting the sixties,

some of the characters are clad in 21st attires.

The same can be said of make up where the

make-up is standard; perhaps because is usually

done by the same people and does not

66

they are doing a television show,

where they could have various

professionals working on different

aspect of the production, from

inception to staging it.

accentuate some of the intended features

which are meant to grip the audience. There is

an acute need for skills training in all the

various fields related to theatrical production.

There are people doing some of the things but

they are not professional and that makes some

of the productions to be of sub-standard

quality. Attachments with theatre houses in

the region might be one way to address this

gap.

Distrib

utio

n

There are very few up to date

theatres in Botswana, except for

Maitisong, which is located in the

capital city where most of the

theatre is staged. Some of the

theatre takes place in schools and at

corporate functions. The University

of Botswana too has a Travelling

Theatre, which strives to take places

to different locations across the

country. Some of the plays are

staged at the kgotlas or at events

commemorating special occasions

such as the International Women’s

Day. Promotion is achieved through

radio and media print advertising and

flyers posted at various locations,

and by word of mouth.

There is need for concerted effort to bring all

the key players together, academics, script-

writers and performing artists in order to

improve the quality and distribution of

theatrical material in Botswana. Some groups

which are very good are only known in the

capital city due to lack of advertisement which

reaches the rural areas. While the internet is

good source of communication, due to the

digital-divide and cost issues, not everyone has

access to the internet.

One major recommendation is that Botswana

should increase the number of plays where the

audience can watch the productions. To date,

we don’t have the state theatre. The newly

opened Oodi school of the performing arts

might address this situation if it is fully

equipped both in terms of infrastructure and

trained personnel.

Appreciation of theatre too needs to be

cultivated if theatrical arts are to survive, and

funding should be provided for its development.

67

consu

mptio

n

To date there is no formal feedback

on the productions except for

occasional write ups in the papers

which only go as far as saying the

group performed at such and such a

place without getting into the nitty-

gritty of the production itself per se.

Feedback

There should be some nuanced feedback

mechanism in place, done by professional art

critics well versed in theatre arts, either as

practioners and or researchers which will

increase the audience appreciation and

awareness of the need to invest in theatrical

arts. This would help the artists to improve

ways of selling their skills as well as attracting a

wide range of audiences.

68

Visual Arts

Phase

Remarks and Recommendations Visual Arts

Cre

atio

n

Remarks

Creation depends on the artist’s style

and his/her source of inspiration. In

terms of commissioned works such as

murals artists can work as a team.

Collective creation is also popular at

workshop where artists might be

guided in brushing up their talents in

using a particular media by a visiting

experienced artist. Thapong also uses

its residency programs to offer

seminars which are aimed at

enhancing the artists’ professional

development

Recommendations

Most of the artists at Thapong are self taught or

learnt the skills through apprenticeship. Visual

Art education should be introduced from

infancy and given the same value as other

subjects, so that artists can produce high

quality pieces which meet international

standards. The construction of Art Schools can

help curb this problem. Further, art

appreciation should be encouraged so that

clients can pay good money for products in

order to allow artists to make a living out of

their sales. As part of the government poverty

alleviation initiatives, government ministries

are mandated to procure art pieces for the

offices from local artists.

Pro

ductio

n

The artist decides on what to paint or

sculpt and sources appropriate

material for the piece. The

production could take a day or

months to complete depending on

the size and medium selected by the

artist.

Lack of funding, scarcity of art material locally,

means that artist, either has to save some

money over time before they can work on their

desired piece, or if they have money sometimes

they have to order the material which could

take forever to reach them. Art Training

institutions should set up stores where artists

can walk in and purchase their materials and

tools. Further, the government should subsidize

and/or waiver hefty taxes imposed on imported

art materials.

69

Distrib

utio

n

Distribution is carried out by Thapong

on behalf of the artists. Some of the

products are purchased during

exhibitions held at The National

Museum in Gaborone and at other

locations across the country such as

the annual BOCCIM fair. Some

individuals too purchase art pieces

for their homes and sometimes can

ask the artist to make a special piece

for them.

Art practioners need to be trained in business

acumen, so that they can negotiate good prizes

for the products. Because of lack of

understanding of the value of their products,

sometimes the artist fall prey to shrewd art

collectors who under pay them for their arts.

Encourage all artists to have their products on

line, Thapong has featured some of the artists’

work on the internet which a step in the right

direction.

consu

mptio

n

Consumption overlaps with

distribution. Most of the pieces are

identified and purchased during

exhibitions, or when a buyer visits

the centre which has studios and a

residency program. Some artists who

have made a name for themselves

are contracted by interior designers

to create artworks for different

clients, be it homes or office spaces.

Consumption channels are almost identical to

that elsewhere and are difficult to curtail,

sometimes people make replicas of the art

piece instead of buying the original piece. This

calls for the enforcement of the Copy right

laws, so that piracy is discouraged. Another

recommendation will be the use of digital

media to have the art pieces available to a

larger clientele via the internet.

Feedback

There is very little feedback, except

individual advice and comments

given by viewers during exhibitions or

visits to the centre.

Thapong Visual Art Newsletter should have a

section on art criticism not just a list of events

that have taken place at the Centre. Another

way to reach a large audience for feedback will

be through the use of information technology,

where they can have blogs and dialogue with

other artists who do not necessarily reside in

Botswana. Thapong should have an artist Guild

which could help when it comes to

professionalism and ensuring good workmanship

as well as creating a bigger market for their

products.

70

71

Music

Phase

Remarks and Recommendations

Cre

atio

n

Remarks

The industry subsector under discussion is a

recording studio. The studio owner of Mudhut

productions is a musician and music producer.

Mudhut Productions specializes in music

production and broadcast productions. This

entails two major types of clientele: The

corporate clientele who are not creative, but

want a specific product say ring tone for

advertising. The producer discusses the

creative component with the producer until

handover of the final product. The other

clientele is that of artists, who come to the

studio knowing exactly what they want, shares

that with the producers and they take it from

there. In terms of broadcast productions, the

producer does the music clearance and gives

the client the product they want. Basically,

there is minimal creation on the part of the

producer. The role is more advisory.

Recommendations

Music production and recording studios have

increased at an alarming rate in Botswana, and one

can find cutting edge studios in Botswana.

However, the industry is not structured. The issue

of standards comes into play because they people

who call themselves music producers yet some of

their products leave a lot to be desired. Most of the

artists prefer to cross to South Africa and have

their music recorded there, although this in some

cases has resulted in the artists being swindled.

Even in Botswana, there have been cases of artists

being swindled by the producers after giving them

large sums of money. Need for standards and

credibility of those offering the services.

Pro

ductio

n

Production services depend on the needs of

the client, could be a collaborative one where

the producer designs something and takes it to

the corporate body to critique and go back to

make the desired changes, or could be one

where the client knows what s/he wants and

polishes the product in no time with the music

producer. Or a straight forward deal where

the client is asked to supply a particular kind

of music to the client which he compiles from

In order to improve the quality of music, need to

set standards and have music producer register

with a guild. This will uphold good standards and

accountability, so that musicians can use studios in

Botswana instead of crossing over to South Africa.

Need to train Batswana in different areas of

production and the need to guard their products

against rampant piracy.

72

different artists’ works. Production can be

challenging depending on the client’s need

and clarity of the client’s needs otherwise it

can be long process especially if there are

some bureaucratic hurdles.

Distrib

utio

n

Most of the music producers, who own

reputable studios, are concentrated in

Gaborone, which is the capital city. One finds

that three or four of them dominate the

recording scene and they compete against

each. Friends who have had a good experience

with a producer are more likely to recommend

him or her to their friends. Some advertise

their services in the newspapers and on the

internet. Distribution is that of services since

they producers do not market the client’s end

products. Besides the equipment to run a

studio is very expensive so having more than

one studio in a small population like Botswana

might cost a fortune.

Need to create music industry association.

Currently Botswana has the (BOMU) Botswana

Musicians Associations, which needs to have more

credibility if it is to take some of the producers to

task for recording sub-standard music. Set up

studios across the country so that the services are

decentralized. The whole exercise is highly

individualized and competitive so collaboration is

out of question. However, healthy collaboration

could produce high quality products. Create a

culture of professionalism.

consu

mptio

n

There is a huge need for music, especially

traditional music, so music producers have a

huge clientele. Even young artists, who are

into hip-hop or motswako, utilize these

services. The music in the shops for example

is also enjoyed by the shoppers. In the case of

the music provided during the No 1 Ladies

Detective Agency, a film shot on location and

based on Alexander McCall Smith’s novel by

the same title, Batswana viewers who

consume that music would have made the

majority of the viewers. But, despite the fact

there is a lot of Botswana music produced

annually, it does not enjoy the same airplay as

some of the foreign music such as hip-hop and

Batswana should be encouraged to produce music

which will reflect their stories and experiences as

Batswana.

73

R& B.

Feedback

To date there is no formal feedback

mechanism on the different recording studios.

Opinion polls and surveys about the ratings of the

different studios could help emerging artist to

avoid recording with sub-standard studios. In

addition, Botswana needs to enforce content

regulation, so that Batswana can hear the music,

and critique it, especially the quality.

74

Phase

Remarks and Recommendations Music David Slater Music

Cre

atio

n

Remarks

: David Slater music provides a range of

musical services mainly to corporate clients

such as the banks, church choirs and voice

training for those interested in making a

career singing classical music. He either

creates the product with the client in the case

of training and coaching, or imports a special

type of music per the client’s needs. As

classical musician by training, Slater, works

with the client to create a piece, and this

culminates in showcasing the end product at a

concert, so he remains central in the creation

process, by directing the performance in a

particular manner, more so that he conducts

most of the pieces he produces. In order to

transfer the learned skills, each year he brings

an orchestra from South Africa and places

some of his students in supporting in the

visiting orchestra, because Botswana does not

have an orchestra of its own.

Recommendations

Classical music in Botswana is in its infancy. Slater

Music is one of lone players striving to bring this

music to most of the Batswana especially those in

Gaborone, through training and participatory

learning, such as the actual experience of being

part of an orchestra. To date he has trained two

prominent choral groups, Sedibeng and KTM choir,

as well as the four Batswana tenors. The services

provided by Salter music are invaluable and should

be tapped into by music teachers as early as in

primary school, so that the students are exposed to

a wide repertoire of music to choose from.

Operating within the global economy Batswana

should be versed in other kinds of music other than

their own if they are to compete internationally.

Another recommendation is that the annual

BIFM/EU concert rotates performance locations,

something impossible because Botswana does not

have any performance space similar to Maitisong

outside the capital city.

Pro

ductio

n

The corporate client communicates its needs

to Salter Music and they can order an

orchestra, or work on a piece to suit the

occasion. Depending on the request, David

Slater Music can commission whatever skills

and services are required to perform stage a

concert or give the specified training.

As a reputable company, by now David Slater

Music, should have trained or mentored some

young Batswana to take the project to the rural

areas as well. Offering lessons in some of the

government schools would also ensure earlier

appreciation of classical music, as hobby, and later

as a full time job.

75

Distrib

utio

n

Consumption of classical music, especially the

BIFM/EU concert remains the preserve of the

urban elite and their families. Conversely,

David Slater Music services are limited to

those with the buying power such as donor

agencies and banks. Artist that have been

trained by David Slater get a chance to

perform at different places, especially at

corporate gigs. To date David Salter Music

boasts of a couple of protégées, who pass the

knowledge to their students especially those

teaching music in schools.

Need to reach a wider audience regardless of class

and social status although classical music itself is

always associated with the elites. Increased

government funding to promote all kinds of music

could expand this initiative so that it becomes

more inclusive and decentralized. Te EU/BIFM

concert for example only takes place in the capital

city Gaborone.

consu

mptio

n

The remarks are the same as those made in

terms of distribution

There is a general feeling the audience, especially

at the annual EU/BIFM tends to be white, and

peppered with a couple of elite or even middle

class Batswana. This can be intimidating to some

people who might think that they don’t fit into

these social classes. Need to open up the circles

Feedback

There is no feedback mechanism in place to

rate the services offered by David Slater

Music, but one thing for show the EU/BIFM

concert always receives raving reviews in the

media.

Promote art journalism, so that independent or

freelance journalists effectively critique

performances and establishments. This can be

done through spot-on interviews following the

performance, call in talk shows, or create a forum

where the proprietor can come into the studio

whether radio or television and answer questions

related to his business and some of his shows.

Feedback from those who have utilized the services

is always very useful.

76

77

Phase

Remarks and Recommendations ISSUES Fashion Studio

Cre

atio

n

Remarks

The fashion industry represented here is based

on the creation of an individual designer not a

manufacturer who producers a line of clothes

for mass consumption. The creation process is

influenced by her background in fashion studies

and what is in vogue as well as what the client

want. The designer creates clothes for a select

market mainly couture, design, cutting,

stitching and fitting, works with a team. Clients

place orders for customized costumes or they

buy what has been created and displayed in the

store. Depending on the nature of the order,

creation can take days or months.

Recommendations

The fashion industry in Botswana not embraced

although recently have fashion graduates since

government sent those aspiring to be fashion

designers to study abroad. Need for more

training and enrichment courses for designers

Pro

ductio

n

Production follows different stages, from:

sourcing fabric, pattern-making, to packaging of

the finished product and shipping it to the

client. Since it is expensive to import good, the

Manager of Issues says she is always forced

fabric in small quantities.

Instead on working on a small scale, the fashion

industry should be encouraged to grow so that it

can develop lines for export. Need for training

and equipment if ISSUES is to design for a larger

market and possible export. Provide conducive

creative spaces for artists. Funding for designers

is crucial and can help diversify the economy and

create jobs for a lot of people who are trained

in this discipline yet find themselves idling as they

are not a lot of opportunities in fashion and

design in Botswana. Another consideration would

be to waiver the tax on imported goods and

curtail the red-tape associated in getting one’s

stuff from Customs once it has reached the

country.

Distrib

utio

n

Distribution of products is done from the

designer’s shop, which also serves as the

warehouse. Most of the business comes through

Utilizing the internet could boost the studio’s

visibility by creating a shopping and shipping

portal on the internet.

78

referrals by friends and clients. Participation at

Fashion Shows in the region also helps with

distribution. News paper articles and radio used

to let people know about the Studio. Also

difficult to export because prospective clients

might ask for an order, upon receiving it, can

copy it and send back the stuff claiming that

there was no market for it.

Should promote Fashion Weeks where the young

designers can showcase their products.

consu

mptio

n

Consumption takes place through individual or

commissioned orders, such as designing

costumes for the girls who participated in the

Miss Botswana, building up to the Miss Universe.

Need to beef up distribution outlets and grow

from a small entity to a large scale distributor.

Feedback

There is feedback from the clients and those

referred to by satisfied clients. The fact that

she dresses most of the pop stars also serves as

instant advertising for the studio.

Create more visibility over the internet, using

face book, twitter etc.

Phase

Remarks and Recommendations

Heritage Tangible and Intangible Culture

This sector is more broad as it encompasses a wide

range of services and products which could be

grouped under heritage’s two major categories that

of tangible and intangible forms of traditional

popular or folk culture such as storytelling, basket

weaving and traditional music.

Cre

atio

n

Remarks

Traditional music will be used as example of

creative example and service which speaks to issues

of community ownership and preservation of

Recommendations

Appreciation of traditional music which well

anchored in most primary and secondary

79

Botswana traditional music and dances. In general,

Batswana pride themselves of their traditional

music, and this is witnessed in the cultural

renaissance through formation of dance troupes

some of which have represented Botswana at the

Kora Awards and other international competitions.

In addition to its music as part of the heritage,

other forms through which the country’s heritage is

traced is through the products it produces and the

stories the societies tells about itself. Hence the

work by Wacona Cultural Village and Quality

Baskets in Maun also ensure preservation of

Botswana heritage albeit through different

avenues. Creation therefore is more depends

whether one is weaving a basket or if one if part of

a team that puts together a collective performance

for a special occasion. Traditional dance groups are

usually big comprising of up to 40 artists; this

number has had to be curved when the group is

performing outside of Botswana to cut down on

costs. Other commercial spin-offs of this

traditional heritage are inclusion of this music in

films shot in Botswana such as the recent No 1.

Ladies Detective Agency (2008). However, there are

fears in some quarters Botswana music might be

“stolen” by the neighbouring South Africa, which

has aggressively showcased Botswana traditional

music in its music video shows. This sector which

services are amenable to cultural tourism has a lot

of potential, but to date does not generate enough

income to sustain the artists throughout the year.

One of the reasons could be that there is no

umbrella body to consolidate all the efforts

groups, hence there is a lot of competitions and

artists crossing over from one dance troupe to the

next. There are a lot of videos on traditional music

but returns have been hampered by rampant

schools should be elevated to a professional

level.

There is need to brand traditional music and

other artefacts such as baskets so that they are

perceived as the country’s intellectual

property.

Musicians and filmmakers should work together

in an effort to protect and preserve Botswana’s

musical heritage.

Cultural tourism should be orchestrated at a

national platform not through isolated

initiatives.

Need to train dancers in other daces and

musical forms which they can combine with

their already existing skills.

Training schools for artists who want to

continue practicing and learning about this art

form.

80

piracy. Since, traditional folk music for the music

part have no sole originator, it is difficult to trace

the composers some of the songs which have been

used by young artists in their creations in a mixture

of Setswana and English lyrics known as motswako.

Pro

ductio

n

As stated earlier production and creation go hand

by hand to arrive at a perfected performance. The

performances sometimes can bring in elements of

the national fashion or the colours of the Botswana

flag, and some artefacts such as baskets to

complement the performance. Other performances

are carried out through the auspices of the

President’s Constituency Competitions which takes

place every July.

Lack of funding and understanding of the

economic value of selling creative services,

means that artists are underpaid for their

services. A lot needs to be done to really sell

the idea of cultural tourism and this will entail

collaboration between several ministries

interested in the role culture can play in

development. The Department of Arts and

culture which is understaffed should out source

some of the services to promote the arts

instead of doing everything in house. The newly

opened Oodi School of Performing Arts should

have professional dance tutors and

choreographers, who can guide the

dancer/student in their understanding of the

economic values of the arts.

Distrib

utio

n

Distribution is carried out through

recommendations or by those who have watched

the shows.

Distribution channels need to be steeped up to

include websites for the various groups. Central

booking facilities could benefit both established

and emerging artists.

consu

mptio

n

The consumption of Botswana heritage products has

been promoted through business mission trips and

sponsorship by resident embassies in Botswana for

the groups to perform or showcase their products in

their respective home countries. Other avenues are

festivals held in the five districts, especially on

Cultural Days which are held annually in May. The

television stations often hosts competitions on

The promotion of Botswana heritage is well

covered on the national television (BTV) but

more aggressive marketing on the internet is

required to make the products accessible to

those who cannot get BTV. This could increase

interest and the need to learn more about the

country. Films using footage of traditional

music could also help viewers to appreciate and

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traditional music. Viewers then can a chance to

vote for their favourite group.

comment on Botswana’s number one heritage,

traditional music.

Feedback

There is very little formal feedback except for

write-ups in the media and interviews with select

artists

A lot needs to be done to come up with

feedback mechanism if the artists are to sell

their creative talents and services. This will

require training of the managers on how to

make their companies visible. A database of

cultural and heritage products in Botswana is

long overdue, which if in place can inform the

public about music and how is related to socio-

political and cultural issues in Botswana.

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SWOT Analysis of the Creative sector Botswana

Internal Environment

STRENGTHS WEAKNESSES

Abundant creative talent

Existence of cultural policy

Blank Tape Levy

COSBOTS

Enabling education system in most disciplines

Interim training of arts on book keeping and

tax reforms

Low national recognition of the economic

gains of creative arts

Weak export opportunities afforded by the

Tourism industry

Lack of experience in creative

products/service production

No reliable access to raw material especially

visual arts

Lack of understanding of foreign market and

the competition out there.

No market for University graduates who

majored in the arts

No consistent monitoring and evaluation of the

contribution by arts to GPD.

Donors only benefit a few individuals and

government, not cater for civil society

OPPORTUNITIES

Relative demand for creative collaboration

with foreigners

ITC opens up new markets

IP administration and enforcement

Regional collaboration by artists through SADC

Foreign experts offer hands on training

THREATS

Small country and landlocked, limited market

access.

Dominance of Western music on both radio

and television

Artists mobility becoming difficult with new

visa requirements

No Artists Guilds to ensure professionalism

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Lack of funding for the arts

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Needs Analysis for the Botswana Creative Sector

CURRENT STATE

The Creative Sector can be summed as follows:

No National Council for the arts with full rights to conduct it’s day to day business.

Weak brand recognition of the country’s cultural and creative products

Weak and outdated cultural policy

Strong educational and training to PhD’s in renowned international universities in traditional

fields and few in entrepreneurship and the creative industries.

Weak human and capital capacity in government offices dealing with the arts

Underdeveloped production infrastructure in key subsectors such as music, audio visuals and

cultural tourism.

High incidences of piracy and disregard for the mandates of intellectual property.

Small population not have a large market in the African Diaspora, limits the country’s

distribution of its cultural products.

Increasing competition from R.S.A. which shares the language and culture with Botswana

especially among the Tswana speakers residing both in Botswana and South Africa.

Most of the artists are just beginning to make their mark on the international scene, so they still

face market access to break into the international markets.

Lack of serious funding for the arts both by the government and the private sector.

Few University courses on the arts

Lack of infrastructure to promote and show case creative services and talents.

DESIRED STATE

Establish a fully-fledged National council for the Arts

Revise and update the dated National Policy on Culture.

Monitor, Evaluate and Implement bodies such as (COSBOTS) to ensure compliance and statutory

formalities to maintain a certain degree of professionalism both locally and internationally.

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Ensuring artists’ mobility given the high incidents of African artists being denied access into

Europe and the Americas.

BEDIA (Botswana Export and Development) to include artists in the country’s business missions.

Promote research and hands-on-experience on creative and cultural industries in Botswana.

Ensure that each ministry has an artist as a focal person for the arts, in the same sense that

ministries have focal persons for various fields.

Create synergies between the various ministries, Finance and Development Planning, Ministry of

Trade and Industries, Ministry of Wildlife and Tourism, Ministry of Education and Skills

Development and Ministry of Youth Sports and Culture.

HIERACHICAL ASSESSMENT OF THE CREATIVE INDUSTRIES NEEDS ANALYSIS – BOTSWANA

NEEDS SHORT TERM MEDIUM TERM LONG TERM

NATIONAL

CULTURAL

POLICY

Establish a reference

expert task group to

revise and come up with a

new Policy on culture.

Provide long term funding

for the arts and the artists

Submit the proposal for

discussion at Cabinet

level.

Provide tax incentives for

those willing to invest in

the arts

Special bursaries/grants

for artists who want to

hone their creative skills

and get licensed.

Promote Arts education

and provide infrastructure

to carry out the objectives

Completion of revised

policy on culture.

Establishment of an

interim committee to

ensure that the proposal

goes through all the

different consultative

stages up to approval by

cabinet.

Promote building of

training facilities and

personnel to run the

envisaged schools as well

as ensuring that the

appropriate

infrastructure is in

place.

Train personnel tasked

with promoting the arts

and arts education in

Endorsement of the

National Policy of

the Arts.

Approval of the

National Arts

Council of Botswana

Open up funding

opportunities to all

the artists not just

the youth.

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of the different schools.

Enforce the

recommendations made

by COSBOTS.

Botswana

STRUCTURAL

FORMALITY

Have more of the Culture

Pitso, similar to the one

held in July 2010 to

inform and dialogue with

the creative sector on

challenges and

possibilities in their

respective sectors.

Provide tax breaks

(incentives) for companies

fulfilling their corporate

social responsibility by

funding the arts.

Grant funding for artists

Artists as focal person in

every government

ministry and other

corporate entities

Training in

advocacy for the

arts for both artists

and those in charge

of funding for the

arts.

Training grant

proposal writing for

the arts (secure

other forms of

funding other than

waiting for

government hand-

outs.

Refresher courses

for both established

and emerging

artists.

INTELLECTUAL

PROPERTY

RIGHTS

Enforcement of COSBOTS

practices supported by

the policy from Ministry of

Trade and Industry.

Benchmark with other

countries in terms of

monitoring and

evaluation.

Issues of IP remain

prominent in the

National Policy on

Culture.

Briefs on IP. To

check what’s

working and what

needs to be done.

Periodic

consultations and

reviews with

relevant

stakeholders.

Standardization of Compare with other Evaluate and

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MARKET ACCESS

products to ensure good

quality and ability to

compete internationally.

Compare with regional

and ACP

products/services.

Recommend and identify

shortcomings and

possibilities of EPA’s.

treaties in place a map

the way forward.

Ensure treaties are

contextualized and

speak to the artist’s

needs and aspirations

monitor the various

treaties.

Bring artists to the

negotiation table

even if it is one

representative.

“Not speaking for

them but with

them.

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National conclusions and Recommendations

CONCLUSIONS

The conclusions summarized here evolved out of the two thematic discussion consultative

workshops as well as some of the responses to the survey administered to over 45 creative

industries and service providers, including the 10 case studies that inform the bulk of this

report. Overall, this is complimented by archival research and conversations with friends and

practioners in the creative industries in Botswana.

Despite the fact that Botswana is a relatively small and landlocked country, it has managed to

unleash its creative impulses to the world, whether it is through its exquisite traditional song

and dance, its baskets, or its culture of hospitality immortalized in print by Mc Call Smith’s

series of the No1. Ladies Detective Agency now adapted into a film by the same name, this

small country is full of surprises. Botswana’s traditional music is one of its highest selling points

and is appreciated by both locals and foreigners, yet there is no structured market to capitalize

on the economic benefits of this art form. It is only recently that Botswana music predominated

in the film version of the No 1. Ladies Detective Agency, 2008). This film which was shot on

location, was beneficial on many fronts, first it gave Batswana artists invaluable hands –on-

experience of working with professionals. Secondly, even though most Batswana played some

minor roles or big roles behind the skills, the fact that this movie was shot on location gave

those who took part in its making a sense of ownership.

On the whole Botswana’s creative industry is in its infancy if one compares it to its neighbour

South African boosting of a huge population and state of the art infrastructure for the arts. In

that sense Botswana is still going through a lot of teething problems such as the need to curtail

rampant piracy. To date a lot of artists still keep their day jobs in addition to say being

musicians, because there is lack of awareness of the services they provide, although one must

add that the attitudes are gradually changing and companies and individuals are now more

willing to pay for creative services and not just regard them as free entertainment. There is still

need to foreground the industry’s economic benefits, that writing a poem is as good a vocation

as being a mechanical engineer. Need to urge Batswana to use culture as an alternative source

of income. The paucity of information on how much creative industries contribute to the GPD

makes difficult for those interested in the monetary befits to channel their investments into this

sector, even with the apparent drive for economic diversification.

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Unlike in other countries, because indigenous culture is dynamic and forever evolving, Botswana

culture does not risk extinction as some false alarms have tended to suggest. What needs to be

done is to make a clear distinction between culture and tradition since the two cannot be used

interchangeably. Even with the global effects of hip-hop, local artists have been able to

appropriate hip-hop by mixing English and Setswana lyrics to address their socio-political and

cultural issues. The local musical scene is inspired by both local and foreign influences. After

all music has been noted to be the universal language therefore the cross pollination is

inevitable.

Working against all odds is informed by Botswana’s Vision 2016, as it aspires to be a ‘society

with confidence in itself, pride in its achievements, and possessing a sense of common and

shared identity’.

Botswana needs training and supervision on how to manage Intangible Heritage, although we

have Tsodilo, the Mountain of Ancestral spirits, which was listed as Botswana’s First World

Heritage site, the site is little known of by Batswana and is under utilized for touristic purposes.

Its running left to the village development committee with little or no skills on how to optimize

the location, maintain it if it is to contribute to sustainable.

RECOMMENDATIONS

Nothing can really take off without a solid policy on arts and culture in place. Hence:

Botswana should put together an interim task force to revise and make sure the proposal for the

policy on culture to replace the current dated one reaches cabinet before the end of the year.

Tax incentives for the promotion of the arts as a way to diversify the economy should be on the

priority list of all ministries and private sectors

Promotion of arts education from infancy throughout tertiary education

Promote awareness of the arts as valuable for both the society and creation of employment

Formalized ways of marketing heritage products both tangible and intangible.

Provide infrastructure for the practice of creative arts, not just schools.

Training of artists on how to get the best out of their services

Apprenticeship or placement with international residencies key.

Lease with government and Civil Society for advocacy and funding of artists

Each ministry should have an artist as a focal person to help in issues pertaining to the arts

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Work with COSBOTS to ensure protection and enforcement of current laws against piracy

Improve quality of products (percussions)

Marketable skills land a job or secure placement with a professional or a pool of professionals.

Funding for those who want to further training in the arts.

Improve organizations of artists...advocacy and debates/create positive change.

Documents

REPORT BOTSWANA